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Music of a Thousand Years a New History of Persian Musical Traditions

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Music of a Thousand Years a New History of Persian Musical Traditions Music of a Thousand A NEW HISTORY OF PERSIAN Years MUSICAL TRADITIONS ANN E. LUCAS Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Joan Palevsky Imprint in Classical Literature. Music of a Thousand Years Music of a Thousand Years A New History of Persian Musical Traditions Ann E. Lucas UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2019 by Ann E. Lucas This work is licensed under a Creative Commons CC BY-NC license. To view a copy of the license, visit http://creativecommons.org/licenses. Suggested citation: Lucas, A. E. Music of a Thousand Years A New History of Persian Musical Traditions. Oakland: University of California Press, 2019. DOI: https://doi.org/10.1525/luminos.78 Library of Congress Cataloging-in-Publication Data Names: Lucas, Ann E., 1978- author. Title: Music of a thousand years : a new history of Persian musical traditions / Ann E. Lucas. Description: Oakland, California : University of California Press, [2019] | Includes bibliographical references and index. | This work is licensed under a Creative Commons CC BY-NC license. To view a copy of the license, visit http://creativecommons.org/licenses. | Identifiers: LCCN 2018051868 (print) | LCCN 2018054350 (ebook) | ISBN 9780520972032 (ebook) | ISBN 9780520300804 (pbk. : alk. paper) Subjects: LCSH: Music—Iran—History and criticism. | Maqam. | Dastgah. Classification: LCC ML344 (ebook) | LCC ML344 L83 2019 (print) | DDC 780.955—dc23 LC record available at https://lccn.loc.gov/2018051868 28 27 26 25 24 23 22 21 20 19 10 9 8 7 6 5 4 3 2 1 For Sue Contents List of Illustrations xi List of Maps xiii List of Tables xiv Acknowledgments xv A Note about Transliteration xvii 1. Ancient Music, Modern Myth 1 Part One: Culture of Maqam 23 2. Musical Empires 25 3. Musical Structure: Cosmology and the Universal Order, c. 1100–1800 48 4. Music and Morality: Listening to Dangers Inherent in the Cosmos 65 5. The Politics of Song: Music for Kings, Music for Empire, c. 1400–1722 81 Part Two: The Culture of Dastgah 103 6. Musical Structure, Musical Nation, c. 1800–1950 105 7. The Nation’s Music: Discovering and Recovering the Dastgah 130 8. Music and Morality: The Recovery of a Nation, c. 1880–1940 168 9. Singing the Nation: Words of the People, Music for Iran 185 10. History, Agency, and the Power of Music 209 ix x Contents Notes 221 Discography 230 Reference List 231 Index 253 Illustrations 1 Common format for representing the twelve-maqam system as a closed, interconnected system 30 2 Depiction of the twelve-maqam system with usul from the Bahjat al-Rūh 31 3 The Khafifaqil S rhythmic cycle 32 ¯ 4 Two versions of the Ramal rhythmic cycle 33 5 High Wall in the “Music Room” of the ʿAli Qapu Palace 82 6 Mural of Shah Tahmasp I with Humayun 82 7 Mural of Shah ‘Abbas I with Vali Muhammad Khan 83 8 Modal interpretation of the dastgah by Jean During 107 9 Modal interpretation of the dastgah by Lloyd Miller 108 10 Examples of gusheh that exhibit modal independence 109 11 Legend for figures 13, 15, and 16 136 12 The dastgah Shur 137 13 Interpretation of the dastgah Shur’s representation 138 14 The dastgah Nava and Mahur 139 15 Interpretation of the dastgah Nava’s representation 140 16 Interpretation of the dastgah Mahur’s representation 140 17 Nodal lines in On The Sensations of Tone 145 18 Nodal lines in the Majmaʿ Al-Advār 145 19 Helmholtz resonator in On The Sensations of Tone 146 xi xii Illustrations 20 Helmholtz Resonator in the Majmaʿ Al-Advār 146 21 Tuning fork experiment in On The Sensations of Tone 146 22 Tuning fork experiment in the Majmaʿ Al-Advār 146 23 Hedayat’s hypothetical scales of the seven dastgah 152 24 Legend for figure 23 152 25 Legend for figure 26 159 26 Vaziri’s changing representation of the dastgah scales 159 27 Vaziri’s analysis of the gusheh Bīdād 161 Maps 1 The Ghaznavid Empire at its largest 37 2 The Ilkhanate at its largest 39 3 Division of the former Ilkhanate, c. 1345 39 4 The Timurid Empire at its largest 41 5 The empire of the Qara Qoyunlu Turkomans 41 6 The Safavid Empire at its largest under Shah ‘Abbas I (r. c. 1599–1629) 43 7 The Afsharids Empire at its largest and after its fall 46 8 Iran, Qajar Dynasty Territorial Legacy 118–119 xiii Tables 1 Summary of Hedayat’s Description of Dastgah Shur in practice 148 2 Summary of Hedayat’s Description of Dastgah Mahur in Practice 149 3 Summary of Hedayat’s Description of Dastgah Nava in Practice 150 4 Division of Poetry in Chahargah According to Davami, First Version 191 5 Division of Poetry in Chahargah According to Davami, Second Version 193 xiv Acknowledgments I owe so much gratitude to so many people who both directly and indirectly facili- tated my research and the production of this book. I must first thank Amir Hosein Pourjavady, Mohsen Mohammadi, Ali Jihad Racy, Anthony Seeger, and James L. Gelvin, all of whom directly educated me and guided the development of this book and made its publication possible. I am so grateful for all of the insight and cri- tique you all provided over months and years. I also owe a great debit of thanks to Hamid Reza Maleki, who was so instrumental in facilitating my first trip to Iran. Thank you Hamid Reza for all of your help, and thank you to your wonderful fam- ily, who were all so welcoming to me during my time there. I would also like to thank Sassan Tabatabai, who read and critiqued many of my song text translations. I was hoping to avoid translating Persian poetry, as any translation of it feels highly unsatisfactory compared to the original. Thank you for helping me confront such challenges of poetry translation throughout the writing of my book. There are many great music scholars in Iran and my ability to conduct research on the subject of Persian music relied directly on high-quality scholarship pro- duced by Iranian scholars over the past several decades. Of these scholars I am greatly indebted to Hooman Asadi, Taqi Binesh, Hormoz Farhat, Sasan Fatemi, Mojtaba Khoshzamir, Ali Reza Mir Ali Naqi, Faramarz Payvor, Mansourah Sabet- zadeh, and Sasan Sepanta. I am further indebted to the great legacy of ethnomu- sicological research in Iran, which includes scholars such as Stephen Blum, Mar- garet Caton, Jean During, Lloyd Clifton Miller, Owen Wright, and Ella Zonis. I would especially like to thank Bruno Nettl, whose own hypothesizing about the history of Iranian music and theoretical explorations of music history first got me interested how we narrate Iranian music history. xv xvi Acknowledgments I truly stand on the shoulders of so many giants, whose work made my research possible in so many different ways. Please accept my heartfelt gratitude for all you have taught me over the years. I could not have researched this book without active assistance from other researchers, nor could I have done my work without the research of so many scholars that went before me. A Note about Transliteration This book references indigenous terminology extensively. For the most part, indigenous terms that recur throughout the book are only fully transliterated once parenthetically when the term is first used. When referencing proper titles and terminology of specific texts, terms are transliterated for Persian if the original text was in Persian, and for Arabic if the original text was in Arabic. Foreign terms may be fully transliterated more than once for clarification of usage in specific contexts, or when cited directly from both Arabic and Persian language texts. *ā ا *ā ا Ā آ Ā آ b/B ب b/B ب p/P – p/P پ t/T ت t/T ت th/Th ث s̱ /S̱ ث j/J ج j/J ج – – ch/Ch چ ḥ/Ḥ ح ḥ/Ḥ ح kh/Kh خ kh/Kh خ d/D د d/D د dh/Dh ذ ẕ/Ẕ ذ r/R ر r/R ر z/Z ز z/Z ز – - zh/Zh ژ xvii xviii Note about Transliteration Transliteration Chart Persian Transliteration Arabic Transliteration s/S س s/S س sh/Sh ش sh/Sh ش ṣ/Ṣ ص ṣ/Ṣ ص ḍ/Ḍ ض ż /Ż ض ṭ/Ṭ ط ṭ/Ṭ ط ẓ/ Ẓ ظ ẓ/ Ẓ ظ ‛ ع ‛ ع gh/Gh غ gh/Gh غ f/F ف f/F ف q/Q ق q/Q ق k/K ک k/K ک g/G گ g/G گ l/L ل l/L ل m/M م m/M م m/N ن m/N ن ū/Ū/- w/W و ū/Ū/aw و ah/at ة h/H/eh ه ī/Ī/y ی ī/Ī/y ی ’ ء ’ ء a/A أ a/A ◌َ or أ or َ◌ i/I إ e/E** ِ◌or إ or ِ◌ u/U اُ o/O ُ◌or اُ or ُ◌ an ً◌ An ً◌ ا diacritical omitted for initial * ** also transliterated as -i for the Persian ezafeh grammatical particle 1 Ancient Music, Modern Myth The past is a foreign country; they do things differently there.
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