Musicalization in Qualified Media of Poetry and Painting (Inter)mediality in šāhnāmeh and Its Illustrations D i s s e r t a t i o n zur Erlangung des akademischen Grades Doktor der Philosophie in der Philosophischen Fakultät der Eberhard Karls Universität Tübingen vorgelegt von (Farzaneh Soorani) Aus (Iran) (2018) Gedruckt mit Genehmigung der Philosophischen Fakultät der Eberhard Karls Universität Tübingen Dekan: Prof. Dr. Jürgen Leonhardt Hauptberichterstatter: Prof. Dr. Klaus Sachs-Hombach Mitberichterstatterin: Prof. Dr. Ingrid Hotz-Davies Tag der mündlichen Prüfung: (Druck oder Verlag und Ort) ii Acknowledgement به نام خداوند جان و خرد کزین برتر اندیشه برنگذرد Great lord of life and wisdom! In thy name Which to transcend no flight of thought may claim (Ferdowsi) It is my pleasure to acknowledge the roles of several individuals who were instrumental for the completion of my Ph.D. Research. I owe my deepest gratitude to my advisor Professor Klaus Sachs-Hombach. Without his continuous optimism and support concerning this work, this study would hardly have been completed. I also express my warmest gratitude to my second supervisor Professor Ingrid Hotz-Davies, who patiently guided me during the last year. My special appreciation goes to Dr. Brunner, for his friendship and encouragement and for providing financial assistance, which bolstered me to perform my work comfortably. He offered emotional and logistical counsel in times when I felt that earning a Ph.D. was surely the worst decision I had ever made. Lukas Wilde was my primary adviser in the final stages of my research. The final version of the "introduction" has benefited enormously from his demand for clarity and his help constructing a strong argument. There is no doubt that some of his ideas and theoretical correction informed my thinking about intermediality. I’d also like to take this opportunity to extend my heartfelt thanks to Niles Maxwell who contributed to the proofreading of my thesis. This thesis is made possible in part to his generous assistance in the editing and proof reading. I must thank Hamid Rahmanian for permission to use his illustrations in the dissertation. It’s my fortune to gratefully acknowledge the support of some special individuals. I wish to thank my best friends, Rahman for his love, care and moral support. He deserves special mention here for his constant support and motivation during last four years-please know that I appreciate everything that you are and do for me from bottom of my heart. I would like to thank Ali, who was a catalyst for forward momentum, and a steady source of emotional support—he has been more than merely that which “friend” can connote. Words fail me to express my appreciation to Sina for iii her support, generous care and the homely feeling in Tübingen. She was always beside me during the happy and hard moments, to push me and motivate me. I would like to pay high regards to Sara for her sincere encouragement and inspiration throughout my research work and lifting me uphill through this phase of my life. iv Table of Contents Chapter 1 .................................................................................................................... 1 1.1. Intermediality and Musicalization of Media ........................................................ 1 1.2. The Necessary Background: Point of Departure.................................................. 3 1.2.1. Crossing of Medial Borders and Musicalization ........................................... 8 1.3. Trajectory, Benefits, and Goals.......................................................................... 13 1.3.2. Research aims .............................................................................................. 21 1.4. Choice of Material ............................................................................................. 21 1.4.1. Qualifying Media Under Discussion ........................................................... 22 1.5. Structure of the Thesis ....................................................................................... 26 Chapter 2 .................................................................................................................. 32 2.1. Introduction ........................................................................................................ 32 2.2. Media, Signification and Referentiality ............................................................. 33 2.3.1. Dimensions and Conditions of Reference in Music .................................... 40 2.3.2. Dimensions and Conditions of Reference in Painting and Poetry .............. 43 2.4. Musicalization Model and Type of References in šāhnāmeh ............................ 53 Chapter 3 .................................................................................................................. 60 3.1. Introduction ........................................................................................................ 60 3.2. Oral Culture and "Performative Utterance" ....................................................... 61 3.3. Definition and Structure of Improvised Music in Persian Culture .................... 63 3.4. Parameters of Improvisation in the Intermedial Genre ...................................... 66 3.5. Poetry and Parameters of Improvisation ............................................................ 67 3.5.1. First Parameter: Musical instruments, Singer and Performance ................. 67 3.5.2. Second Parameter: 'Repetition' of Musical Figures ..................................... 72 3.5.3. Third Parameter: Representational Metric and Thematic "Motifs" ............ 77 3.5.3. Forth Parameter: Words Similarities in an Acoustic Variation ................... 80 3.5.3.4. Roaring(xoruš ........................................................................................... 81 3.6. Parameters of Improvisation in Painting ............................................................ 82 3.6.1. Painting/Poetry Plurimedial Collaboration ................................................. 82 3.6.2. Painting and Monomedial Intermediality .................................................... 87 Chapter 4 ................................................................................................................ 120 4.1. Introduction ...................................................................................................... 120 v 4.2. An Overview of Persian Vocal Music ............................................................ 122 4.3. Musical Rhythm implied in Epic Poetry .......................................................... 123 4.3.1. Oral culture and Importance of Rhythm .................................................... 123 4.3.2. Rhythm as Structure in Time..................................................................... 125 4.4. Strategy of Storytelling and Imitation of Music "Code of Emotion" .............. 133 4.5. Thematizing Metric Pattern in Vocal Music .................................................... 141 4.6. Imitating Persian Monophonic Music in Poetry .............................................. 143 4.7. Melodic Progression and Rhythmic Alternations-Variations Implied in Poetry ................................................................................................................................. 144 4.8. Imitating Features of "Tahrir"(Ornamentation of sounds) in Poetry ............... 152 4.9. Musical Rhythm Implied in Visual Medium ................................................... 155 4-9.1 Linear Diagrammatic Repetition of Frame in Old Manuscripts ................ 156 4.9.2. Non-linear Framing in Old Manuscripts .................................................. 161 4.9.3. Rhythm and Repetition of Visual and Graphical Elements ...................... 165 Chapter 5 ................................................................................................................ 180 5.1. Introduction ...................................................................................................... 180 5.2. Šāhnāmeh and Scopes of 'Intermediality' to Heroic Music ............................. 181 5.2.1. "Fluctuation" Character of Metric Rhythm ............................................... 182 5.2.2. Extra-compositional Relations Between a Cycle of Media ....................... 188 5.3. The Codification System of Persian Music and Code of "Emotion" ............... 194 5.4. Analysis of Heroic Music in Painting .............................................................. 200 Chapter 6 ................................................................................................................... 206 6.1. Introduction ...................................................................................................... 206 6.2. Symmetry; On Overview of Concept............................................................... 208 6.3. Storytelling, inner form and "Translational Repetition" .................................. 209 6.4. Symmetry in Painting....................................................................................... 222 Chapter 7 ................................................................................................................... 230 7.1. Conclusion ....................................................................................................... 230 Bibliography………………………………………………………………………… 247 vi Table of Figures Chapter 1 Figure1. 1. A Schematization of Medial Conditions in Basic and Qualified Media .................. 6 Figure1.