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The Processes of Creation and Recreation in Persian Classical Music

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The Processes of Creation and Recreation in Persian Classical Music The Processes of Creation and Recreation in Persian Classical Music Volume One Thesis Submitted for the Degree of PhD Laudan Nooshin Goldsmiths' College University of London March 1996 Abstract This thesis presents a critical examination of the processes of creativity in the performance of Persian classical music. Using current literature, information from musicians, and detailed musical analyses, the thesis endeavours to reach an understanding of what creativity means in the Persian context, and to examine the ways in which creativity takes place and the factors which affect it. A consideration of the nature of human creativity in general is followed by a critique of the concepts and terminology of creativity used within (ethno)musicology. Several areas are subsequently explored for their potential contribution to an understanding of creative musical processes. There is a consideration of possible parallels between musical and linguistic creativity, as well as an exploration of theories about the psycho-physiological determinants of musical creativity. With specific reference to Persian classical music, various aspects of the basic canonic repertoire, the radif, are examined, and this is followed by a discussion of the processes by which the radif is learnt, this being a crucial stage in laying the foundations of musical creativity. There is also a consideration of the concepts of creativity in this musical tradition, as well as changes to such concepts in recent years. The musical analyses focus on a number of performances and versions of the radif, primarily from dastgah Segah. There is an examination of the sectional organisation of both performances and radzfs, as well as of compositional procedures, typical melodic patterns, and including specific focus on the ways in which material from the radif is treated in performance. The aim is to comprehend how it is that musicians use the knowledge acquired during training to present unique expressions of the musical tradition at every performance occasion. The thesis seeks to contribute to a greater understanding of generative musical processes and ultimately, towards a better understanding of the nature of human creativity. 2 Acknowled2ements I am deeply indebted to a great many people for their advice and support. In particular, I would like express my thanks to Firooz Berenjian, who gave up so much of his time to talk to me and to give me lessons on setar; and to the other musicians whom I interviewed: Faramarz Pãyvar, Parviz Meshkãtiãn, and Hossein Alizãdeh. To Professor Hormoz Farhat, both for his time and hospitality on my visits to Dublin, and also for his insightful comments; similarly to Professor Bruno Nettl, during my visit to Urbana, and for the sound recordings which he so kindly allowed me access to; to Jean During for spending time talking so frankly with me; to Dr Taqi Tafazoli for his help in the initial stages of my work; to my supervisor, John Baily, for his evergreen patience; to Professor Owen Wright, for his invaluable comments on parts of the text; to Helen Britton, who checked the translations from French; to my husband, Anoosh, mainly for his understanding, but also for his help with numerous points of Peat.- ;to my father, Hoshyar Nooshin, who answered questions that no one else could. and to Navid, for giving it all meaning. 3 Table of Contents page number Volume One List of Figures 9 List of Musical Examples on the Accompanying Cassettes 11 Note on Transliterations 20 Introduction 21 Chapter One Perspectives on Creativity 1.1 Introduction 24 1.2 Ethnomusicology, Creativity, and the Study of the Individual 26 1.3 Concepts and Terminology 30 1.3.1 Improvisation and Composition - Definitions 32 1.3.2 Improvisation and Composition Compared 39 1.3.3 The Role of Notation 42 1.3.4 Improvisation, Variation, or Interpretation? 44 1.3.5 Musical Models 47 1.3.6 Tradition and the Individual 49 1.4 Generative Processes 51 1.4.1 Linguistic Creativity 52 1.4.2 The Oral-Formulaic School 63 1.4.3 Sensori-Motor Factors in Generative Processes 65 1.5 Decision-making Processes 68 1.6 Concluding Remarks 70 4 page number ChapLter Two The Radif of Persian Classical Music 2.1 Introduction 71 2.2 The Radif 72 2.2.1 The Semantic Domain of "Radif' 72 2.2.2 Radif In Historical Perspective 76 2.2.3 Single RadiJ Multiplicity of Radifs 81 2.2.4 Different Versions of Mirza Abdollãh's Radif 87 2.2.5 RadiI as "Model", Radtf as "Framework" 93 2.2.6 RadiI as a Model Within a Broader Model 95 2.2.7 Persian Terminology, Persian Concepts 100 2.2.8 The Significance of the Radif 102 2.3 Learning Processes 103 2.3.1 Teaching and Learning Processes In Persian Classical Music 106 2.3.1.1 Teaching Contexts In Persian Classical Music 107 2.3.1.2 Teaching Methods in Persian Classical Music 111 2.3.1.3 Learning to Improvise 115 2.3.1.4 Musical Notation and Sound Recording In the Teaching Context 120 2.3.1.5 Teacher-Pupil Relationships 125 2.3.1.6 New Developments In Teaching 128 2.4 Concluding Remarks 131 Chapter Three Creativity in Persian Classical Music: Cognition and Practice 3.1 Music and Cognition 133 3.1.1 Concepts of Creativity 137 3.1.2 CreativIty Within the Radif 139 3.1.3 Levels of Jmprovlsation 143 3.1.4 Pre-determined or Spontaneous? 145 3.1.5 ConscIous or Subconscious? 147 3.2 Changes In the Concepts and Practice of Creativity 151 3.2.1 Changes In the Identity of Musical Creator 154 3.2.2 Factors Affecting Changes in the Concepts and Practice of Creativity 156 3.2.2.1 Sound Recording, Broadcasting, and Notation 156 3.2.2.2 Performance Contexts 158 3.2.2.3 From Vocal to Instrumental-Based Tradition 163 3.3 Concluding Remarks 167 5 page number Chapter Four DastRãh Segah and its Structural Organisation 4.1 Introduction 169 4.2 The Structures of Persian Classical Music 170 4.3 Dastgah Segah 173 4.3.1 The Analysed Versions of Segah 182 4.4 The Structural Organisation of SeRãh 184 4.4.1 Modal Organisation 186 4.4.2 General Observations 191 4.4.3 The Internal Organisation of Mokhalef 194 4.4.4 Relative Lengths of Sections 204 4.5 The Making of Seãh 210 4.5.1 StructurIng Principles 210 4.5.2 The Relative Importance of Guslzehs 214 4.6 Gushehs in Radifs and Performances: Some Anomalies 219 4.7 Concluding Remarks 226 Chapter Five Identity and Diversity in the Gushehs of SeRãh 5.1 Introduction 228 5.2 The Construction of Identity in the Gushehs of Seãh 231 5.2.1 Darãmad 232 5.2.2 Mokhalef 238 5.2.3 Maqlub 244 5.2.4 Hazeen 251 5.2.5 Hodi va Pahlavl 257 5.2.6 General Considerations 264 5.3 Identity Within Gusheh Openings 267 5.3.1 The Opening of Zãbol 267 5.3.2 The Opening of Muyeh 270 5.3.3 The Opening of Mokhalef 273 5.4 Radif and Performance 276 5.5 The Musician's Perspective 278 5.6 Concluding Discussion 281 6 page number Chapter Six From Radif to Performance: Creative Procedures in SeRãh 6.1 Introduction 285 6.1.1 Compositional Techniques in the Literature 285 6.1.2 Compositional Techniques in Segah 287 6.2 Extension 290 Simple Extension 6.2.1 290 6.2.2 Extended Repetition 292 6.2.3 Multiple Extended Repetition 299 6.2.4 Transpositional Extension 307 6.2.5 Procedures, Processes, and Principles 315 6.3 Phrase Structures and their Recreation in Performance 319 6.4 Extension Within Maglub 344 6.5 Other Developmental Procedures: Sequence and Contraction 355 6.6 Composition In Context 360 6.7 Procedures in Mãhur 367 General Considerations 6.8 374 Tradition, Performance Tradition 374 6.8.1 Radif 6.8.2 Spatio-Motor Factors 379 6.8.3 Further Reflections on Extended Repetition 381 6.9 Concluding Discussion - The Re-creation of Tradition 383 Volume Two Table of Contents 388 Chapter Seven The Motivic Construction of Sefãh 7.1 Introduction 389 7.2 The Motifs of Zäbol 390 The Database Results 7.2.1 395 7.2.2 Two-Note Motifs 396 7.2.3 Three-Note Motifs 399 7.2.4 Four-Note Motifs 406 7.2.5 Five-Note Motifs 414 7.3 Motifs and Aesthetic Criteria 419 7.3.1 Identifying the Criteria 421 7 page number 7.3.2 A "Grammar" for Five-Note Motifs Beginning with the Interval -1 434 7.3.3 Underlying Principles 440 Aesthetic and Structural Considerations 7.4 441 7.4.1 Motifs Characteristic of Particular Instruments 443 7.5 Radif and Performance Compared 453 7.5.1 Motifs in the Radif 455 7.5.2 The Generation of Motifs in Performance 461 7.6 Motifs in Context 464 7.7 Concludin2 Discussion 466 Conclusions 468 Glossary of Terms Used 474 Bibliography 477 Appendices Appendix One A - Details of Performances and Radifs Analysed in this Study 506 B - Musicians Performing as Soloists In the Analysed Performances and Radifs 516 Appendix Two Performances and Radifs of Segah Analysed in Terms of Internal Organisation 518 Appendix Three Tables Accompanying Chapter Four 553 Appendix Four Musical Examples Accompanying Chapter Five 582 Appendix Five Musical Examples Accompanying Chapter Seven 625 8 List of Fiaures page number Figure 1 - Factors Involved In the Performance of Persian Classical Music 98 Figure 2- Genealogy of Prominent Persian Classical Musicians from Farãhãni to the Present Day 126 Figure 3 - Gushehs of Segãh in Radifs 1-4 175 Figure 4 - Flowchart Showing the Progression of Overall Modal Sections in the Analysed Performances and Radifs of Segah 192 Figure 5 - Flowchart Showing the Progression of Sections Within the Opening Darämad Modal Section in the Analysed Performances of Segah 200 Figure 6 - Flowchart Showing the Progression of Sections in the Mode of Zãbol in the Analysed Performances of Segah 201 Figure 7 - Flowchart Showing the Progression of Sections in the Mode of Muyeh in the Analysed Performances of Segah
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