Shafiei, Kiana (2018) Intertextual perspectives on interpretation: a study of three Iranian composers’ piano works in the context of Persian music. Doc- toral thesis (PhD), Manchester Metropolitan University and The Royal North- ern College of Music. Downloaded from: https://e-space.mmu.ac.uk/621996/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk INTERTEXTUAL PERSPECTIVES ON INTERPRETATION: A STUDY OF THREE IRANIAN COMPOSERS’ PIANO WORKS IN THE CONTEXT OF PERSIAN MUSIC KIANA SHAFIEI A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Royal Northern College of Music and Manchester Metropolitan University April 2018 Contents ___________________________ Page Abstract _______________________________________________ 1 Acknowledgements _________________________________________ 2 List of Figures _______________________________________________ 4 List of Audio Tracks _________________________________________ 8 List of Graphs _______________________________________________ 14 List of Tables _______________________________________________ 15 Performance Portfolio _________________________________________ 16 Introduction _______________________________________________ 18 Part One: Critical Review of Theories & Methodologies Analysis and Performance ______________________ 34 Intertextuality __________________________________ 42 Part Two: References to Persian Music Introduction __________________________________ 52 Instrumental Characteristics ______________________ 55 i. Chaharmezrab ____________________________ 55 ii. Tremolos __________________________________ 77 iii. Pedal point imitation ______________________ 93 Vocal Characteristics ____________________________ 98 Interpreting Structure Transitions in Performance _________ 122 Performance Implications of Persian Rhythms __________ 160 Conclusion ______________________________________________ 181 Bibliography ______________________________________________ 189 Discography ______________________________________________ 199 Appendix A: Interview transcripts ____________________________ 203 Appendix B: Full list of live and studio recordings ________________ 217 Appendix C: Full list of lecture recitals, paper presentations, concerts and publications __________________________________ 223 Appendix D: Lecture Recital transcript ______________________ 227 Appendix E: Archival research: unearthed documentation __________ 255 Appendix F: Permissions & Ethical Clearance ___________________ 271 Abstract. __________________________________________________________________________________ Abstract This research focuses on the performance and interpretation of piano solo and concertante works by three Iranian composers of the twentieth and twenty-first centuries who explore the potential of Persian music in a ‘Western’ paradigm. The lack of analytical and performance studies on this repertoire raised two immediate questions: what musical links with Persian music can be drawn out in this repertoire, and to what extent can this study influence its performance? The methods used to answer the questions, which can potentially inform the study of other folk-inspired compositions, examined how these composers imitated Persian vocal/instrumental characteristics and derived knowledge from performing styles, melodic or rhythmic patterns, folk tunes and improvisational principles without literally imitating specific genres or idioms of Persian music. This research also explores the reader-oriented principles of intertextuality for their conceptual relevance when informed intuition and subjective associations become part of the performer’s interpretation. Although intertextuality has yet to be applied in a performance context, its application has significant potential as it enables the performer to include various ideas or associations in the decision-making processes involving misreading as a creative strategy and consider the opposing forces of imitation and originality. Part One consists of critical discussions on the limits of authenticity and the werktreue concept, the incommensurability between theoretical analysis and performance, the decentralisation of score and composer-centred perspectives, the various intertextuality principles explored in this research, the reader’s role (that is, the performer) in creating meaning, and the interpretation of musical signs (for example, rhythms, melodies, textures) based on references outside the score in ways the author/composer might not have considered. In Part Two I deconstruct the process and rationale behind my artistic decision-making. In this section, various conscious and unconscious decisions in both live performances and studio recordings between 2014 and 2017 are compared and subject to tempo analyses with Sonic Visualiser to discern significant interpretational divergences. The recording analysis investigates further with a comparative study in the context of other pianists’ recordings. 1 Acknowledgements. __________________________________________________________________________________ Acknowledgements Firstly, I would like to express my sincere gratitude to my supervisors Dr David Horne, Dr Stephen Savage and Dr Adam Fairhall for their expert advice and continuous supervision during my research. I am particularly indebted to Dr David Horne, whose careful guidance was invaluable, for reading and re-reading numerous drafts prior to submission. I am also grateful for his mentorship during my teaching assistantship at the Royal Northern College of Music (RNCM) from 2016 to 2018. I am also grateful for Dr Stephen Savage’s piano instruction and Dr Adam Fairhall’s insights into the field of intertextuality. Furthermore, I would like to extend my thanks to other members of the academic staff at the RNCM, particularly Professor Jane Ginsborg who diligently answered all questions pertaining to timelines and regulations at various times, and was always quick to discuss any query or issue at a moment’s notice, and for the opportunity to work with her as Editorial Assistant for the Music Performance Research Journal from 2015 to 2018, and to those who attended my presentations at the RNCM PGR Research Forums for their suggestions and thought-provoking questions. Moreover, I would like to thank the RNCM Research Department for funding the orchestral recordings of several piano concertos and recommending one of my projects to the Higher Education Funding Council for England (HEFCE), and for their continuous support in funding the travel and accommodation costs of many conferences and events at which I gave presentations in the UK and abroad. 2 Acknowledgements. __________________________________________________________________________________ I would also like to express my thanks to the Salford Symphony Orchestra1 and to many RNCM student musicians2 who volunteered to record four piano concertos with me at the RNCM, in particular conductor Edmon Levon whose direction was irreplaceable. I am also grateful to Stephen Guy, Sound and Video Manager at the RNCM Studio Department, and his team for their support with my performance portfolio recordings over the last three years. Last but not least, I would like to thank my family: my parents and my brother who have been an ongoing source of support and encouragement, and my husband Miguel, who has enlivened my PhD experience and graciously offered his time and energy to support this endeavour as travel companion in my trips to various national and international conferences and concerts, as well as video and sound editor, recording engineer, and advisor. I dedicate this thesis to him for his invaluable presence throughout this project. 1 I performed three movements of André Hossein’s piano concerti with the Salford Symphony Orchestra at St Paul’s Church on 20 March 2016. 2 Abigail Davies, Aidan Marsden, Alexander Walker, Amy Surman, Andre Nadais, Andrew Birse, Andrew Mellor, Angharad Owen, Anna Lawton, Antonio Barrera, Benjamin Percival, Bradley Jones, Brooks Griffith, Clemence Prudhomme, Chloe Randall, Daniel Mills, Daria Fussl, Elizabeth Lister, Elizabeth Willett, Ellis Howarth, Ellis Thompson, Elyena Clapperton, Emily Hill, Emily Winsor, Emma Rushworth, Eva Richards, Fangbin Xia, Fayruz Megdiche, Filipe Dandalo, Freya Chambers, Freya Stokoe, Heather Cossins, Ilham Altoqi, Jacob Barns, Jeremy Salter, Jisun Youn, John Hutchinson, Juliette Kowalski, Karl Egeland, Katie Lewis, Lara Caister, Lucy Noden, Man Cheung Selina, Maria Mzyk, Matt Clarkson, Matthew Chadbond, Maximillian Boothby, Meera Maharaj, Mikaela Mayo, Naomi Martin, Natalia Senior-Brown, Nathaniel Edwards, Thomas Balch, William McGahon, Vanessa White, Rachel Allen, Rebecca McLlroy, Rebecca Oughton, Rory Storm, Rosie Spinks, Siobhan Shay, Sophia Connolly, Sophie Smith, Stephanie McVey, Susanna Griffin, Tabitha Selley, Thomas Betts, Yat Fung, Yi-Hsuan Lai and Zoe Ewers. 3 List of Figures. ___________________________________________________________________________________ List of Figures Note: The list below indicates the order of figures throughout the critical commentary. No. Name Page 1. Prokofiev, Four pieces Op.32 No.3 (Gavotte), bars 1-11. 38 2. Debussy, Estampes: La soirée dans Grenade, bars 23-37. 39 3. Chaharmezrab-e Nava for santur by Faramarz Payvar. Transcription by Kiana Shafiei. 55 4. Rhapsodie Persane No.1 for tar by André Hossein. Transcription by Kiana Shafiei.