كليدواژه :
درآمد آواز بيات اصفهان , سير نغمگي , ملودي , موسيقي دستگاهي ايران
چكيده فارسي :
«سير نغمگيِ» يك مد همانند نقشه اي است كه مختصات كلي گردش ملودي را در آن مُد ترسيم مي كند. مسيرِ اين گردش، در زمينه بستر نغمگي هر مُد، با نغماتي كه نقش اساسي در تعيين هويت آن مد دارند نشانه گذاري مي شود. اين نغمات در موسيقي دستگاهي ايران عبارت‌اند از: نغمه هاي شاهد؛ ايست؛ خاتمه؛ و متغير. سير نغمگي جهت حركت ملودي در بين اين نغمات نيز جزئياتي از چگونگي اين حركت را در اختيار مي گذارد. سير يك مُد در موسيقي دستگاهي ايران همواره در لايه هاي زيرينِ ملودي مستتر بوده و هيچگاه نمودي مستقل نداشته است. هدف مؤلفان در اين مطالعه بيرون‌كشيدن سير، كه ذاتاً ماهيتي مجردتر از ملودي دارد، از دل قالب متعين ملودي و نمايش آن است. بدين منظور، نمونه هايي از اجراهاي معتبر مُد درآمد آواز بيات اصفهان، به منزلة موردِ پژوهشي در نوعِ رديفي و اجراي آزاد دستگاهي، انتخاب شد. پس از بررسي تحليلي- تطبيقي هر نمونه، سير ملوديِ آن به صورت نموداري ترسيم شد؛ مقايسة اين نمودارها وجوه اشتراك بنيادي آن‌ها را آشكار ميكند. مجموعة اين اشتراكات، كه ميتوان گفت نمايشگر مسيري است كه ملودي براي تبيينِ مُد درآمد آواز بيات اصفهان در هر اجراي دستگاهي طي ميكند، با نام نمودار سير اين مُد پيشنهاد شده است.
چكيده لاتين :
in some recent musical theory, “mode” is distinguished not only by intervallic structure and its position on the general scale, but also by its specific progression. Modes with identical intervallic structure and positions on the general scale, may be distinguished on the basis of melodic progressions. Seyir or melodic progression is an outline, in which the melody must travel along a rather specific path. Ideally, a Seyir should present a widely acceptable guide to the progression of a chosen mode, making it different from one another. The progression of a mode shows the relationship between specific tonal centers. In fact, the Seyir is marked by points of these tones. The relative position of these tones shows the melodic direction of the progression. Also a detailed skeletal exposition of the progression is given in the Seyir. The tonal centers in Persian Classical Music include: Shâhed, Final, Stop and Motaghayyer (variable tone). The Shahed tone is the center, around which the melody evolves, rest note is a tone on which the melodic segments comes to rest, and Motaghayyer (variable tone) is susceptible to alteration during the course of the Gushe. These tones are comparatively inactive, of course less active than the Shahed. In the Persian modal system, unlike some other modal systems such as Makam, melodic progression is often closely tied to a specific melody; however melodic progression is an important concept in the creation of the Gushe (the smaller modal unit which constitutes the substance of the Persian modal system); but it never exhibits separately. For this purpose, in this article, according to the 10 transcriptions of one mode of Persian classical music, we try to draw out the dominate Seyir of the melody. These transcriptions are selected from the Daramad-e Avâz-e bayâte- Esfahan (The Âvâz is traditionally regarded as a derivative Dastgah with fewer Gushes and the performance of a Dastgah or Avaz usually begins with one or more sections called Daramad), from Radifs of Mirza Abodllah, Mousa Ma’rofi, Mirza Hossein-Gholi, Abollah Davami, Abolhassan Eqbal Âzar, Abolhassan Sabâ, Gholamhossein Banan, Hassan Kasaee, Jalil Shahnaz, and Mohammad Reza Lotfi. At first we will determine the sentences of the transcriptions and then draw the graphs of melodic progression for each of them. In fact, these graphs indicate the basic route of the melody. Similarities which is understood from comparison of these graphs lead us to choose a path for Daramad-e Avaz-e bayate- Esfahan. Based on these graphs, we can see the Daramad-e Avaz-e bayâte- Esfahan always begins with activating the Shahed tone, then often it has a descending movement that goes to the stop tone, and then go back to the Shahed. In the following melody, usually involves the upper tones of the Shahed. These similar paths can be divided in two groups that are identified as the beginning and the ending paths. The complexity of these paths makes the melodic progression (Seyir) of Daramad-e Avaz-e bayate- Esfahan.
