Persian classical music is represented by a corpus of amorphous pieces that are subject to extemporized renditions. They adhere to a modal principle that is defined by a set of pitches (maqām) and a certain melodic contour (māyeh). The pieces are collectively known as the radif (‘row’, ‘line-up’).
Each unique pitch class assignment to a specific circle (and not to a cycle) establishes a particular maqām, which in this sense can be considered a tone pool1. For instance, according to this definition, D Dorian and C Ionian share the same maqām, while D Dorian and C Dorian refer to different maqāms.
'Māyeh' denotes "a certain melodic contour" (Lawergren 2001) that emerges from the interplay of attraction and repulsion among the modal components. Subsequently, we will succinctly explore the modal components that are instrumental in shaping māyeh.
1.1 The Modal Characteristics of Persian Music
Persian music, inherently improvisational, is rich in amorphous melodic figures that lend themselves to diverse combinations for improvisation, akin to the use of licks in jazz and popular music. These amorphous figures can either stand on their own or be woven together with others to craft larger structures, known as gušeh2 in the realm of Persian musical tradition. Each figure is characterized by two main characteristics: rhythmic and modal. The focus of this study will be on the modal characteristics of these melodic figures. The modal characteristics within Persian music are delineated by two unique qualities, referred to as māqam and māyeh. As delineated in Grove Music Online (Lawergren 2001), these qualities are elucidated with reference to the previously discussed melodic figures in the following manner:
The Modal Forces Contributing to Māyeh Formation
➊ Anchor3
The 'anchor' is identified as a pitch within a maqām, which, even if momentarily, is cognitively established as the focal point of the respective modal entity ('home tone') or as a temporary point of stability. The identification of anchor as the initial tone delineates a cycle within the corresponding modal circle.
➋ Šāhed
The term 'šāhed' refers to the note within a cycle that functions as the modal characteristic tone, distinguished by its pronounced emphasis through phenomenal accents and typically appearing more frequently than other tones.
➌ Modal Trichord
As mentioned, the key role in identifying the šahed is played by the phenomenal accents on a pitch, particularly the pitch event. Adjacent to the šahed, two additional tones are closely positioned, occupying the next levels of significance in this hierarchy. Together with the šahed, these tones form what is termed in this paper the 'modal trichord'. By defining the configurations of the modal trichords, not only is the primary pitch range of a melodic figure ascertained, but also the shaping forces influencing the creation of melody are identified. For instance, when the šahed is located in the middle of the trichord, the melodic movement tends towards convergence.
In this context, 'maqām' is defined as a specific set of pitch classes that serve as the fundamental tonal framework for the formation of melodic structures. The exploration of maqāms in this research is based on a historical methodology grounded in the theoretical contributions of Safī al-Dīn al-Urmawī, a 13th-century Iranian music scholar, as presented in his work "Kitāb-i Advār"4 (The Book of Cycles). Urmawī's theoretical framework illustrates the various potential divisions of the octave as segmented circles, which can be referred to as a kind of 'interval templates' (see picture on the right). From every degree of a circle, its modes are derived, each represented as a cycle5 emanating from the original circle. For instance, the Ionian and Dorian modes share identical interval patterns, thereby constituting distinct cycles within the same modal circle.
This question aims to address the limitations of the Radif in its traditional role and to explore a systematic approach to notating the fluid modal structures in Persian music, bridging the gap between traditional forms of representation and the need for a versatile, communicative tool for performance, composition, and education.
In addition to the sharp (#) and flat (b) symbols, Persian music employs two unique microtonal accidentals: 'sori', for raising the pitch, and 'koron', for lowering it. The microtones in Persian music diverge from an equal temperament, with the alterations caused by sori and koron extending beyond 50 cents. However, this study will not delve into intonation specifics but rather focus on representing the pitch space of Persian music and within this framework, microtonal accidentals are represented by half-sharp (‡) and half-flat (d) symbols. As is the case in this study, models that employ the concept of equidistant tone grids to illustrate the pitch space of Persian music are also prevalent in ancient theoretical works, such as Urmawi's book. In these works, the interval lying between the major and minor second, is uniformly called 'mojannab'6, even though it signifies two unequal sub-intervals within the minor third in practical use. For instance, in the figure on the left, Urmawi labels both the interval between the notes 'د' (equivalent to D) and 'و' (equivalent to Ed) as well as the interval between 'و' (Ed) and 'ح' (equivalent to F) as 'جـ' (Mojannab).
Utilizing the previously described accidentals, four specific types of the second interval, integral to Persian music, are defined:
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The 'minor second'7, also known as a 'half-tone', marked as 'H' in this study, represents the smallest interval (e.g. D-Eb).
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The 'neutral tone'8, marked as 'N' in this study, has a size that falls between the minor and major second (e.g. D-Ed).
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The 'major second'9, or 'whole-tone', marked as 'W' in this study, is the well-established interval used in Western music (e.g. D-E).
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The 'plus tone'10, marked as 'P' in this study, spans a size between the major second and the augmented second (e.g. Dd-E).
The primary objective of this research is to develop a comprehensive notational system that accurately represents amorphous melodic figures and their combinations, encapsulating the essential modal characteristics of Persian music. While the traditional Radif has served as a ‘roadmap’ for improvisation, providing models of melodic patterns and modulation, it does not encompass all potential musical conceptions that can arise from the diverse spectrum of amorphous modal figures within Persian music. The Radif presents fixed manifestations of melodies, which limit its flexibility and applicability for spontaneous improvisation and the broader modular structure of Persian music.
Therefore, this study aims to establish a more flexible foundational framework for improvisation, composition, and analysis that extends beyond the traditional Radif. By functioning similarly to how chord symbols in jazz provide a guide through modal concepts in both melodic and harmonic contexts, the proposed notational system seeks to offer a versatile tool that can better facilitate communication among musicians across various settings and embrace the full range of modal expressions in Persian music.
Research Question
The central research question guiding this study is:
How can a notational system be devised that effectively represents amorphous melodic figures and their combinations, accurately reflects the essential modal properties of Persian music, and enables the recognition of similar structures, while serving as an informational framework for communication among musicians in improvisation, composition, and pedagogical contexts?