The article focuses on Persian art music, which is ‘listened to’ by implementing different types of approach: after a general mapping of the main musical genres present in Iran today, drawn with the tools of sociology and musicology, the article goes on to examine the modal system known as maqām, a reference in the entire Middle Eastern and Central Asian area, to then focus on the very particular Persian art music (radifī, ‘elmī). The article proposes, then, a history of Persian art music divided into main phases ranging from the pre-Islamic period, to the encounter with the Arab-Islamic tradition, to the case of Persian musicians (acemler, ajamlar, acemī) and their transcribed compositions in the Ottoman world, to the melting pot of the Timurid Herat and its influences in the Central Asian and Indian Ottoman world. We then move on to the Safavid phase and its influences in Kashmir, and finally to the appearance of the first masters who proposed a repertoire known as radīf (‘system’, ‘arrangement’) that came to them by oral tradition towards the end of the 19th century. This brings us to recent developments in art music during the 20th century and on to the present. After this historical reconstruction, we move on to a more musicological approach, examining the main genres of the radīf, its very particular style of singing and its musical instruments, described and analysed in detail.
L’articolo è centrato sulla musica d’arte persiana che viene “ascoltata” mettendo in atti diversi tipi di approccio: dopo una mappatura generale dei principali generi musicali presenti oggi in Iran, disegnata con gli strumenti della sociologia e della musicologia, l’articolo passa a prendere in esame il sistema modale detto maqām, di riferimento in tutta l’area mediorientale e centroasiatica, per concentrarsi poi sulla particolarissima musica d’arte persiana (radifī, ‘elmī). L’articolo ne propone una storia suddivisa in fasi principali che vanno dal periodo preislamico, all’incontro con la tradizione arabo-islamica per giungere al caso dei musicisti persiani (acemler, ajamlar, acemī) e alle loro composizioni trascritte nel mondo ottomano, al crogiuolo dell’Herat Timuride e dei suoi influssi nel mondo ottomano centroasiatico e indiano; si passa poi alla fase Safavide e al suo riverbero nel Kashmir, per arrivare all’apparire dei primi maestri che propongono un repertorio detto radīf (“sistema, ordinamento”) giunto loro per tradizione orale verso la fine del XIX secolo. Si arriva, così, agli sviluppi recenti della musica d’arte che si sono avuti durante il Novecento per arrivare al presente. Dopo questa ricostruzione di tipo storico, si passa ad un approccio più musicologico, prendendo in esame i generi principali del radīf, il particolarissimo stile di canto e i suoi strumenti musicali, descritti e analizzati in dettaglio.
Ascoltando la musica d'arte persiana
Giovanni De Zorzi
2023-01-01
Abstract
The article focuses on Persian art music, which is ‘listened to’ by implementing different types of approach: after a general mapping of the main musical genres present in Iran today, drawn with the tools of sociology and musicology, the article goes on to examine the modal system known as maqām, a reference in the entire Middle Eastern and Central Asian area, to then focus on the very particular Persian art music (radifī, ‘elmī). The article proposes, then, a history of Persian art music divided into main phases ranging from the pre-Islamic period, to the encounter with the Arab-Islamic tradition, to the case of Persian musicians (acemler, ajamlar, acemī) and their transcribed compositions in the Ottoman world, to the melting pot of the Timurid Herat and its influences in the Central Asian and Indian Ottoman world. We then move on to the Safavid phase and its influences in Kashmir, and finally to the appearance of the first masters who proposed a repertoire known as radīf (‘system’, ‘arrangement’) that came to them by oral tradition towards the end of the 19th century. This brings us to recent developments in art music during the 20th century and on to the present. After this historical reconstruction, we move on to a more musicological approach, examining the main genres of the radīf, its very particular style of singing and its musical instruments, described and analysed in detail.File | Dimensione | Formato | |
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