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In
the
morning of
Monday
December
11, the
second
session of
Isfahan
School
Music
Congress
was held
at the
amphitheater
of
Tehran's
Museum of
Contemporary
Arts.
As the
Public
Relations
of the
Academy of
Arts
reports,
headed by
master Ali
Bayani,
the
session
began with
a research
presented
by Dr.
Seyyed
Hussein
Maismi on
the music
of Safavid
era
entitled,
"The
Study of
Practical
Music in
1006-1135
A.H. in
Iran of
Safavid
Era."
He
remarked:
"Diverse
aspects of
practical
music are
considerable
from the
time when
Isfahan
replaced
Qazvin as
the
capital of
Iran. The
article
observes
three
aspects of
music in
Safavid
era.
First,
such
modifications
are
evident in
issues
like modal
structure,
temporal
works
(compositions)
and
instruments.
Accordingly
they
constitute
a 'three
side
model'
which
firstly
embraces
the
musical
system;
secondly
created
works as
well as
modifications;
and
thirdly
instruments
by which
the music
was being
performed."
"The
research
is based
on
documentation
method
which
utilizes
the works
and
initial
sources of
that era
including
musical
treatises
(the
certificated
treatises
and those
attributed
to Safavid
era),
historical
and
literary
works and
travelogues
of those
times,"
he added.
The
study of
two
professional
genres in
the
culture of
Iranian
music"
is the
title of
an article
written by
Marina
Drozhzhina,
the
university
teacher
and music
scholar
from
Russia,
but due to
the
absence of
the
writer,
the
article
was not
read for
the
attendants.
Her art to
kill for
close on
to genres
of
professional
music
based on
two
Iranian
schools.
One relies
on the
method of
the
composer
(based on
the
European
model) and
the other
is the
traditional
method
(based on
radif).
Next, Iraj
Na'eima'ei
described
the
relation
between
calligraphy
and music.
He
explained
that art
is the
embodiment
of truth
and
observed
the
similar
aspects of
calligraphy
and music:
"These
resemblances
are
evident
between
music and
other
arts. It
means that
the
general
meanings
in music
are also
considerable
in
painting
and
calligraphy,
literature.
Furthermore,
calligraphy
and music
have
always
supported
and
preserved
each
other. As
the main
principle
in music
is to
express
the
meaning,
the
meaning is
embedded
in words.
Also in
the realm
of
calligraphy,
the main
principle
is to
express a
concept.
Maybe the
similar
aspect of
music and
calligraphy
is their
cycles and
the most
significant
accessible
book in
this field
is The
Cycles of
Safi-e Din
Ormavi.
These
cycles
include
the
concepts
of unity
and
plurality.
The music
is
performed
in one
Dastgah
and
despite
using the
multiplying
notes
finally
reach to a
unity. In
calligraphy
and tazhib
(illumination)
we
consider a
plurality
in the
structure
of a
"scheme"
which
entirely
represents
a unity.
"The
Joint
Artistic
Characteristics
of Isfahan
School
with an
Indication
to Three
Arts:
Calligraphy
Music and
Painting"
was the
title of
an article
written by
Atusa
Rasooli,
the M.A.
student of
art
research.
After
briefing
on the
political,
social and
artistic
milieu at
the times
of Shah
Abbas I,
she
discussed
on the
resemblances
of all
three
arts,
calligraphy,
music and
painting:
"In
comparison
with
previous
times, the
atmosphere
and social
milieu of
Shah Abbas
I kingdom
period
dramatically
changed.
Such
changes in
style and
the
removal of
limitations
led to
some
alterations
in the
mood of
artists.
The most
important
change was
more free
will for
artists,
the
painting
was not
serving
literature
anymore
and
drawing
came out
of the
books to
become an
independent
artistic
field and
was
followed
in the
form of
"Qalamgiri"
method,"
she said.
"Although
it's been
claimed
that in
Safavid
era music
went
through an
artistic
slump, it
can be
indicated
that the
Qajar
music and
current
radif-s
are
extracted
from the
music of
Safavid
era,"
she added.
Rasooli
pointed to
the
freedom of
movement,
the
intensely
curved and
spiral
movements,
the
variety in
the points
of
emphasize
and the
mathematical
proportions
as the
general
characteristics
of the
arts in
Safavid
era.
The last
lecturer
of the
morning
session
was Dr.
Soraya
Aghayeva
who is the
university
professor
of Ankara
University
and has
researched
persistently
and
extensively
on the
treatises
of
Abdol-Qader
Maraqe'ei.
She
presented
her
article,"The
Comparison
Study of
Treatises
and
Manuscripts
of Middle
Ages with
a special
Focus on
the works
of
Abdol-Qader
Maraqe'ei.
In
her
article,
she
introduced
the ideas
of
Abdol-Qader
Maraqe'ei
on music
and the
treatises
written by
the
children
of this
ancient
scholar in
books, Jāme-al
Alhān and
Maqāsed-ol
Anwār.
The
afternoon
session
went
underway
while
headed by
Dr. fariba
Afkari and
in the
presence
of
Jahangir
Nasri
Ashrafi
and
Seyyedeh
Sahel
Qafeleh-Bashi.
At First,
Jahangir
Nasri
Ashrafi a
scholar in
history,
culture
and music
presented
his
article,
"The
Non-native
Narrators
Played the
Role of
Musicians
in Safavid
Era."
The
scholar
noted
that:
"The
revisions
in beliefs
and ideas
of Safavid
era
changed
the
situation,
as a
result of
the
religious
abolitions,
narrators
and
non-local
performers
took the
role
previously
was played
by
musicians.
New
titles and
names like
toushmal,
mahtar,
Changi,
Khatir…
among the
nomads and
reassignment
of Iranian
Jews and
Armenians
as the
performers
of
popular,
delightful
music in
major
cities
like
Shiraz,
Isfahan,
Tehran and
in some
other
places,
the
growing
efforts of
gypsies as
the
performers
of native
music is
the
consequence
of such
changes."
"As a
matter of
fact, the
process
amazingly
put the
responsibility
of
musicians
on the
shoulders
of
particular
social
layers and
minorities.
Such a
reassignment
is still
observable
in Iranian
nomadic
and ethnic
music,"
he added.
Following
his
remarks,
Ashrafi
indicated
to the
issue of
gypsies'
emergence
in Iran
and their
approach
to Iranian
music and
said:
"The
history of
gypsies'
presence
in Iran
dates back
to the
Parthians
era and
it's
particularly
in this
time that
gypsies
worked as
narrators
in Iranian
music but
in Safavid
era their
role
became
more
significant.
In the
travelogues
of
Lorestan
and
Khouzestan
the
gypsies
are
specifically
mentioned
as the
ethnic
players of
musical
instruments.
The
foretold
travelogues
belong to
Safavid
era."
Finally
he
indicated
that we
can regard
the
gypsies as
the
narrators
of Iranian
music
after the
Safavid
era.
"The
Introduction
and
Consideration
of a
Treatise
on the
Wisdom of
Music from
Safavid
Era"
was the
last
article of
this
session
presented
by
Seyyedeh
Sahel
Qafeleh-Bashi,
an expert
in the
history of
Safavid
era.
As the
subject of
her
article,
the
treatise
includes
seventeen
chapters,
a preface
and a
conclusion,
the
treatise
observes
the basics
of music
science,
division
of Dastan
and
defines
the
extents of
Pardehs
expressions,
songs and
their
proportions
with
constellations,
stars,
seven
landmasses,
different
ethnicities
also Iqa-e
Osoul and
wisdom of
Sama'e
which is
among the
significant
and
unknown
issues of
Safavid
era.
She also
accounted
for some
points on
the
amendments
on five
versions
of a
treatise
on the
wisdom of
music,
with a
particular
emphasis
on tables
of Dastan
divisions
and
definitions
of extents
in the
treatise.
Another
significant
point of
the
treatise
is a
description
of the
term, bāng
which
refers to
the extent
of the
songs and
various
degrees of
a maqām.
The
session
wrapped up
with the
number of
questions
raised by
the
attendance
and
answers
given by
the
experts
including
Jean
During,
the French
scholar
and
musician,
Dr.
Hussein
Maismi,
Jahangir
Nasri
Ashrafi,
Ali Bayani
and Fariba
Afkari.
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