Maintaining our ancient musical and cultural legacy

Transcription

1 Extensive Journal of Applied Sciences Available online at EJAS Journal , ISSN Maintaining our ancient musical and cultural legacy Neshat Forghanielahabadi BA of English Translation, Helal University of Tehran, Iran Corresponding author: Neshat Forghanielahabdi ABSTRACT: The World Nation s Music shows an extensive tie which is considerable to enthusiasts of history. After Islamic revolution and before that the situation of music has had a wide verities of styles, melodies, rhythms and definitions which has being changed by historical events like other cultural artistic fields compared previous.portrait of ancient music was changed many times and different reasons like lack of acoustical conditions, cared people, music literacy and many other ones appeared to sink plenty of those melodies and heritages into oblivion. Present study is to carry out the origins of Iranian ancient music and of Tanboor music (one of those ancient musical instrument). The paper will consider the Iran s music tracks during different eras and the last relics of them in today s music with indication to folk music of Tanboor. Keywords: Iranian Music, Radif Music of Iran, Cultural Changes of ancient Music, Tanboor Music INTRODUCTION History of Iranian ancient music and maqaams is really broad and extensive so the researcher of this article only chose the very small and relevant parts of this big history of music with focus on Tanboor maqaams as an important source of ancient music of Iran and the World to be recorded and kept. During ups and downs of historical events it s obvious that the number of cultural changes are more tangible. There have always been people who are aware of these changes and do their best to preserve culture and civilization. In this article the author has gathered some information about music history of Iran and the musicians who would like to maintain these legacies. All the materials of this paper are based on self-studies and findings of the author from her Tanboor and music Masters Mr. Yahiya Ranaei, Mr. Pouyan Ranaei. The ancient music Our first recognition of Iran s ancient music goes back to 1400 years ago coincides with Sassanid era. We can take it as the main source of music in Iran and other Islamic countries after onset of Islam, as well. Some relics displays that music of Iran had been really rich in Sassanid era and had had a valuable level in the society. The famous music masters in that era were Ramtin, Bamshad, Nakisa, Azad Varchangi, Sarkesh and Barbad who had worked for kingship of Khosroparviz. (Page 1, Radif music of Iran, Moosa Maroofi 1995) The music of ancient era Ancient Iran has been a cradle of culture, science, art and civilization. The relics and inscriptions left by historians about characteristics and manners of Iranians indicates that singing and music playing had an important cultural and social role in ancient empire nations of Iran. (Page 1, Radif music of Iran, 1995) Radif Iran s music of Radif is a collection of songs and melodies (Gusheha). They form seven categories or Repertoire (Haft Dastgah). The names are (Shoor, Segah, Chargah, Mahoor, Homayoon, Rastpanjgah and Nava) and other five are (Avazha), (Abooata, Dashti, Afshari, Bayat-Tork, and Bayat-Isfehan) which are Homayoon and Shoor belongings. This collection shows the delicate emotion and deep thoughts of artists who had narrated their happiness, dreams and sadness through music. Radif music of Iran has had a lot of ups and downs in historical events several times. The Radif is the only support remaining for cultural music of Iran. This rich oral legacy that has been found via person to person teaching ways indicates a deep connection between soul, thoughts and art of Iranian people and the continuation of Iranian music depends on Radif. So Radif music is the only and unique source to read and understand this music correctly. (Publisher s note, Mousa Maaroofi, Radif music of Iran).

2 Iran and other countries ancient music ties The written books and articles about the world nations music can show the existence of Tanboor (one musical instrument) in different lands. Of course, it is crystal clear that the origin of Tanboor is from Iran. Tanboor can be found on other lands and countries same as India, Africa, China, Egypt, Syria, Baluchistan, Balkans, Kurdistan, Georgia, Tajikistan, Afghanistan, Bangladesh, Morocco, Khorasan, Turcoman, Turkish and Gilani. (Pages , Tanboor from ancient time till now). Different shapes of Tanboor Tanboor before Ashkanian era Tanboor Tanboor is an ancient Iranian musical instrument which is mostly related to Ahlehagh people ritual ceremonies. This instrument is one of the holy musical instruments in Iran. In Gooran region and Kerend (west of Iran) it s called Tamiorah and in Sahneh city it s Tamirah while it s called Tamoorah in Kermanshahan and Lorestan. You can find the name of Tamoor in Seyyed Yaghoob Mahidashti s poetries, as well. This musical instrument has been the only musical instrument for Yarsan rosary and their praying which holds special 45

3 venerability. However, it s not only played by Ahlehagh and Yaresan people. The origin of Tanboor is from Dotar classification (musical instrument) and in the other word it s the ancient name for Dotar. Tanboor is the only instrument of its kind in the west of Iran, the focus of Tanboor is on Kermanshahan state and Gooran and Sahneh cities or some Northern parts of Lorestan. (Page 311, Tanboor, Iranian musical instruments encyclopedia). before and after Islam Tanboor in four Pahlavi treatises of ancient Iran, before Islam s onset: 1. Treatise of Asoorik tree. 2. Treatise of Bondahesh cyclopedia. 3. Treatise of Ardeshir Babakan work book. 4. Treatise of Khosro, Qobadan and Ridak. (Page65, third chapter, Tanboor from ancient time till now) Tanboor existence in these treatises from beginning of Islam until Safavi dynasty: 1. Ebneh Khordadbeh treatise. 2. Great music of Farabi. 3. Great science letter of Ebneh sina. 4. Brief music history of Iran. (Page 81, fourth chapter, Tanboor from ancient time till now) The author of that treatise in an introduction to recognize Tanboor article: There is a brief part about Tanboor, as we read in old historical and literature books of Iran, Tanboor is from 6000 years ago. (Page 230, Tanboor from ancient time till now). Tanboor music We can separate the music of Tanboor into 4 sections: 1. Haghani maqaams (Kalum) 2. Ancient maqaams of Tanboor (not Kalum) 3. Improvisation based on Tanboor maqaams 4. Contemporary melodies (compositions of contemporary musicians) 1. Haghani maqaams The main part of Tanboor is related to Yarsan Haghani maqaams. The number of these maqaams reaches 72 which were composed by great elderlies of Yarsan people. It goes into three groups, first free singing melodies (no special tempo) which makes deep thoughts in listener s mind and is a solo performing (like Sheikhamiri, Baba faghih and Tarz maqaams.example by Mr. Yahiya Ranaei), second group melodies with slower tempo that the listeners are supposed to clap together to keep the rhythm and spiritual mood (like Ummunsad Ummun maqaam), and the third one has a quicker tempo and the listeners try to clap together to keep the rhythm which gives them an uplifting and cheering feeling (like Zoghe Zamavan maqaam). 2. Ancient maqaams of Tanboor The number of these melodies varies from 14 to 20 in different music masters and players points of view. Some are performed as singing melodies without special tempo (like Saharri and Sarookhani maqaams), some with certain rhythm (like Jeloshahi and Khanamiri maqaams). 3. Improvisation based on Tanboor maqaams In this category the improvisation is based on ancient maqaams of Tanboor and the performer of this group would observe and keep the Tanboor certain genres and improvises some pieces by his taste of virtue. In this part it could be mentioned that Iranian ancient music doesn t have small intervals same as Tanboor. 4. Contemporary musicians It can be solo or ensemble music performance and all musicians would keep the Tanboor certain culture and maqaams genres in their work. For instance (Seyyed Amrollah Shahebrahimi: Tamannaye Vesal, Moshtaghe Legha. KeykhosroPoornazeri: Mardunneh Khoda, Khiale Khosh. Yahiya Ranaei: Motrebe Tanboor, Bani Adam). (Pages of Tanboor music, Tanboor from the ancient time till now). 46

4 One of Mr. Ranaei Yahiya s handmade Tanboor Mr. Ranaei Yahiya and his family (Musician and Tanboor maqaams player, Sahneh city, Kermanshahan, 1962) Nevertheless there were a lot of masters who knew these maqaams of Tanboor, we cannot find them alive now. One of those Masters was Mr. Shahebrahimi Seyyed Amrollah (From Sahneh city) and one of his famous students is Mr. Ranaei who knows these precious maqaams completely. However, the number of these outstanding maqaams has decreased during historical events and the lack of acoustical condition and longtime of recording seems to sink some of these maqaams into oblivion. Fortunately, Mr. Ranaei has broadcasted his knowledge during his life for more than 40 years through his music classes, concerts, workshops, music meetings, and even he taught his family members to play these maqaams to survive them from forgetfulness. He started learning tanbour at the age of 12, followed by Haqaani and ancient Maqaams of Sahneh in Mr. Seyyed Amrollah Shah Ebrahimi music classes. Later, he also took part in Mr. Abedin Khademi classes for maqaams of Gouran (a place in Kermanshah).Then, he benefitted from the mentorship of Seyyed Ayyaz Qazvineh, Darvish Amir Hayati, Seyyed Ezatollah Yari, Seyyed Vali Hosseini and Seyyed Mansoor Yari, as well. He is manufacturer of Tanbour and Setar. He teaches Tanbour playing. He s the head of Ranaei family music band and managing director of Zakhmeh traditional music instruments manufacturing. He likes to distribute them over the world for all the lovers of ancient music, as well. Now his decision is to record the maqaams of Sahneh city and publish them which is a real hard work of art. This collection includes more than 85 melodies of maqaams from Sahneh city, Iran. This work of art is going to play completely for the first time by Mr. Ranaei and singing of his son Mr.Ranaei Pouyan. Pouyan Ranaei has learned to play and sing since his early life. Pouyan has performed plenty of concerts with family and different musicians since his early life. 47

5 Pouyan Ranaei (Sahneh.Kermanshah-1987) He was introduced to tanbour by his father when he was a baby. Later, he became competent in playing tanbour by his father. He was so talented in singing and music. He took the tonbak lessons from Mr. Daryoush Zargari in his teenager hood. When he was 10 he learned to play the Kamanche from Mr. Ali Akbar Shekarchi too. He got interested in Persian Vocal Radif and he passed professional singing (methods of Mr. Karimi) in Mrs. Afsaneh Rasayi classes then he passed (Shajarian methods of singing) the Persian Vocal Radif in Mr. Mozafar Shaffie singing classes as well. They work together and this family has a great reputation around the world, such as France, Sweden, Norway, Japan. CONCLUSIONS During historical events of Iran (Persia), there were many cultural changes. Iranian (Persian) music was one of the most obvious changes. One of the most important question was in front of music was is it going to remain safe or destroy? with decreasing the number of musicians and lovers that could maintain the ancient music culture or transmit it to other generations exactly, the future of ancient music was totally changed. This paper tried to consider one of those ancient musical instrument adventure during history and its changes in Persian ancient music and the people who have had a lot of endeavors to culturally maintain them. REFERENCES [1] Maroofi Moosa, Iranian (Haft Dastgah) Radif music, Iran s music community 1995, Radif description Dr Mehdi Barkeshi, first edition Beautiful arts of country publication,1963. [2] Aalinejad Seyyed Khalil, Tanboor from ancient time till now, Danesho fan press, Darya publication, 2006, ISBN [3] Darvishi MohammadReza, Iranian encyclopedia of musical instruments, first cover, Mahoor institute of culture and art, 2002, ISBN