نماي حركت ملوديك در گوشه‌هاي رديف موسيقي ايران

Melodic Shapes in Gūshehha of Iranian Radīf

شكل كلي يا شماي ملودي يكي از مفاهيمي است كه در حوزه‌ي آفرينش و تجزيه و تحليل موسيقي بسيار از آن ياد مي‌شود. پژوهش حاضر با بررسي تطبيقي حدود 106 گوشه، نشان مي‌دهد كه بيش‌ترين نوع حركت ملوديك گوشه‌هاي رديف موسيقي ايراني حركت‌هاي رفت‌ و برگشتي سينوسي و حركت‌هاي افقي در گستره‌ي محدود صوتي‏ اند. هم‌زمان با اين نوع حركت‌ها، ملودي‌هاي گوشه‌ها به‌شكلي نا‏محسوس با حركت‌هاي فرعي پايين‌رونده به‌صورت پلكاني دنبال مي‌شوند. برخي از انواع حركت‌هاي ملوديك، مانند حركت‌هاي قوسي مقعر و حركت‌هاي بالارونده‌ي پرشي و پلكاني، هيچ‌گاه در ساختار شماي حركت ملوديك گوشه‌ها  استفاده‌نشده يا بسيار به ندرت استفاده شده‌اند. گرايش به حركت‌هاي وضعي در ملودي‌هاي رديف بيش از گرايش به حركت‌هاي انتقالي است، زيرا حركت‌هاي وضعي بيشتر در نتيجه‌ي حركت‌هاي افقي و دور‏زننده‌ي ملودي حاصل مي‌شوند و حركت‌هاي انتقالي بيشتر نتيجه‌ي حركت‌هاي بالارونده و پايين‌رونده‌ي ملودي‏ اند. بررسي راستا و جهت در ساختار ملودي‌هاي رديف واقعيتي بسيار مهم را درباره‌ي رديف موسيقي ايراني آشكار مي‌كند، اين واقعيت كه رديف موسيقي ايراني اساساً در خدمت آواز است، حتي اگر رديف روايتي سازي باشد، زيرا حركت‌هاي ملوديك طبيعتي سرايشي دارند.

Studies on Iranian music are particularly conducted to show its melodic aspects and are highly occupied by the discussions of modal systems of dastgāhha and the arrangements and functions of notes and their alteration within a tetrachord and pentachord. In general, we can consider three main factors in melodic contours including directions, intervals and time values. However, accustomed listeners of Iranian music pay little or no attention to microtones and their complicated arrangements. In fact, the combination of those three elements plus the presentation of such features arouse their emotion. In order to study and categorize the melodic shapes of gūshehha of the radīf of Iranian traditional music, a system is designed. In this system, all the main gushehha of seven dstgaāhha and five āvāzha of the radīf (here the version of Mīrazā Abdullāh is used as the main reference) are studied and the melodic shapes of them are categorized. For each gūsheh two types of melodic movements are recognized, structural and momentary movements. The researcher has used his own experience of familiarity with radīf, as a musician, to distinguish the structural elements from momentary musical incidents. Living in a society is the best way to learn and experience everyday life to make sense of the music and the culture of that society. Nonetheless, in order to categorize the musical elements, a systematic approach, which leads to a sort of comparative examination of data, is working accurately. The approach presented in this study helps to examine the qualitative phenomena of melodic movement in various gūshehha of dastgāhha and their subdivisions to acquire a general picture of one of the elements of form in Iranian traditional music. Based on the findings, the central features in melodic shape of gūshehha of the radīf are summarized. In 106 gūshehha of various dastgāhha and their subdivisions āvāzha which have been studied in this project, pendulum movement of melody and moving level with the very limited tonal material have the highest rank in various melodic shapes and movements. As well as pendulum and level melodic contours as the main melodic movements, there is another movement which is sequential descending of the melody. The findings of this study also revealed that some types of melodic shapes, such as “inverted arc,” “sequential ascending,” and “terrace descending” appears very rarely in melodic movements of Iranian melodies, and ascending melodic movements are not popular in melodic structure of dastgāhha. Moreover, melodies in traditional music of Iran are usually tended to move in a level with a very limited tonal material or to have a wave shape outline.