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The purpose of the present research is to study the
whole repertory of the Iranian erudite music radif. It proposes a new
classification of the modes of this music, considering that, during the modern
era of Iranian music, there is the influence of Western music theory, as well
as the influence of a distorted articulation between the theory and the
practice of Iranian erudite music which
led to an arbitrary classification of the Iranian modes.
During their history, these very old systems,
underwent major deterioration which occulted their initial coherence. As
musician expert from Iran, we were confronted with considerable inconsistencies
during our multiple attempts of total apprehension of the Iranian modal system
; the existing theoretical explanations could never completely satisfy our
curiosity. In this thesis, we humbly sought to denounce the pretences. We
engaged a scientific approach in order to try to highlight a simpler and more
coherent classification.
Our position,
between emic and etic, place our research in the center of a double exchange,
by sharing the two approaches : Western and Iranian - what we call the
“temporal division of the knowledge”.
The originality of our research is that instead of
accepting the heritage just as we received it, we tried to base our work on
more structural and technical aspects, by borrowing methods from Simha Arom.
Indeed, after questioning whether it was necessary to treat these Iranian music
in the field exclusively ethnomusicology or rather musicology, it appeared
obvious to us that our work, which above all directed towards the structural
and technical aspects and use methods of analysis closer to those of
musicology, positions rather in the field of musicology - ethnological
dimension not being approached in this study.
The first chapter approaches the historical aspect and
the origin of radif, the methods of its transmission, and locates our
research in the current scientific panorama.
The second chapter is devoted to the definition of the
terms and the concepts used in this music such as radif, dastgah
(mode), goucheh (the melodies) and of the elements which compose them.
The forms used and the existence of the quarter tone are also studied.
In the third chapter, we redefine certain terms and
concepts such as the notes pivots, the intervals to be able to analyze the
modal systems- the dastgah.
In the fourth chapter, we analyze the dastgâh,
the ambitus of the goucheh, the scales and the goucheh
representative of each dastgah.
The results of our investigations and our research, in
particular the nineteen extracted scales are presented in the fifth chapter.
In the final chapter, we approach the concept of
rhythm (old and modern), its fundamental rules and also the correlation between
the rhythm, poetry and the song.
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