middle eastern violin method thesis1318046/fulltext01.pdfmiddle eastern music violin styles by...
TRANSCRIPT
I
Kurs: AA1022 Självständigt arbete 30 hp Årtal (2019) Masterexamen Institutionen för Folkmusik
Handledare: Sven Ahlbäck
Alan Kamil Majeed
Middle Eastern Violin Method A Method for Teaching and Transcribing Middle Eastern Music
Innehållsförteckning
Preface .................................................................................................................... 4
Introduction ........................................................................................................... 4
General topic ............................................................................................................................. 4
Background ........................................................................................................... 7
Inspiration ............................................................................................................. 9
Mojtaba Mirzadeh (1945-2005) .......................................................................................... 9
Dilshad Said (1958-) ......................................................................................................... 10
Goran Kamil (1971-) ......................................................................................................... 10
Baki Kemanci (1968-) ....................................................................................................... 10
Bijan Mortazavi (1957-) .................................................................................................... 11
A mapping of the styles ........................................................................................................ 11
Kurdish Music Style .......................................................................................................... 11
Persian Music Style ........................................................................................................... 16
Turkish Music Style .......................................................................................................... 20
Arabic Music Style ............................................................................................................ 23
Mapping the styles .................................................................................................................. 26
Listening list of Middle Eastern violin styles ......................................................................... 27
Method ................................................................................................................. 27
The method of the research study: .................................................................................... 27
The violin teaching method: .............................................................................................. 28
Undetailed version: ........................................................................................................... 29
Detailed version: ............................................................................................................... 30
(The Symbols) ......................................................................................................................... 31
Experiment – videotaped tests with Swedish fiddlers ............................................................ 37
First experiment: ............................................................................................................... 37
Second experiment: ........................................................................................................... 38
Self experiment: ................................................................................................................ 40
Private experiment: ........................................................................................................... 40
The Concert ....................................................................................................................... 41
Discussion – summary ...................................................................................................... 42
Conclusion ........................................................................................................... 43
References ............................................................................................................ 45
Works Cited ......................................................................................................... 45
Preface
IhavealwayswantedtobeusefulandresourcefultoeveryonearoundmefromwhatIknowandwhatIhavelearnedinmusic.IwanttoshortenthelongprocessittakestolearnMiddleEasternmusicviolinstylesbydevelopingamethodforviolinplayinginorientalmusicstylesthroughthisproject.Thisprojecthasbeeninmymindformanyyears.Mywishisthatitcouldhelpthenewlearnertogofurtherandlearnmoreinthisfield.
Iwouldliketothankmyparentsforsupportingmeinallthestepsofmylife.Iwouldliketothankeveryonewhohelpedmeinthisprojectandcollaboratedwithme.Also,theteachersandthestudentsfromKMH–FolkMusicDepartment,especiallyprofessorSvenAhlbäckforsupervisingmymasterprojectandhisbigsupportforme.
Introduction
General topic MyprojectisfirstandforemostaboutdevelopingapedagogicalmethodforteachingMiddleEasternfolkandclassicalmusicontheviolin.Asasecondarygoal,Iwanttoknowifmyownplayingcouldbenefitfromapplyingsuchamethodandbecomemoreskilledinexpressingmyselfartisticallyonmyinstrument.Inordertoachievethis,first,IhavetranscribedandnotatedmusicfromdifferentmusicstylesoftheMiddleEast,includingKurdish,Persian,ArabicandTurkishmusicanddescribedthespecifictraitsofthesedifferentstyles.Then,Ihavecreatedamethodofhowtorepresentdifferentstylisticallyimportantelementsinthemusic,e.g.themostpopularornamentsusedinthismusic,aswellasfindingnewwaysofrepresentingthembynewsymbols.Finally,Ihavedevisedexercisesforlearningandperfectingthesestyleelements,suchasornaments.ThereisnowellestablishedmethodforteachingtheMiddleEasternstylesofviolinplaying(Eilenberg,1993).Thisfactmakesitchallengingforstudentstolearnandpassonthetradition.UnlikeWesternClassicalmusic,MiddleEasternmusicinvolvesusingdifferentmodalsystems,includingscaleswithquartertones.ThemodesandcorrespondingscalesarecalledMaqamandthereareagreatmanyofthem.(Todorov,2018)Aviolinistplayingthisstyleofmusic,usuallyusesintricateornamentationsinplayingonthesescaleswhenmakinganextemporizationorimprovisationonthemaqam,calledTaksim.Nothavingamethodforthiscomplicatedmusicstyle,makesanewlearnertorelysolelyonlearningbyearandlearnthroughimitation,whichistodayoftenperformedbylisteningtorecordedsources.Inmypersonalexperience,ittookmanyyearsofcarefullisteningandimitatingtolearnhowtoplayMiddleEasternmusicontheviolin.Asanaccomplishedviolinistandteacher,nowIwanttoestablishanddevelopmymethodsostudentscantakeadvantageofitandlearnthismusicmorethoroughly,fasterandbecomemoreaccomplishedinexpressingthemselveswithinthestyle.MyhopeisthatthismethodwillhelppreservetheMiddleEasternstyleofviolinplayingandmakeiteasiertopassontothenextgenerations.Furthermore,themethodwillalsohelpaninterestedforeignertounderstandandpotentiallylearnMiddleEasternmusicontheviolin.
Thus,myresearchinterestistoinvestigateinwhatwayIcandescribe,notatethepertinentstylisticelementsofthemusicfortodevelopa‘Methodfororientalviolinplaying’,includingnotations,exercisesandteachingprocess,thatcanmakeamusicianunderstandtheMiddleEasternmusicstylesandlearntoplaythem.Theultimateaimistopassthetraditioneasierandfaster,givingaspiringviolinistspossibilitytodeveloptheirviolinplayingwithinthisfield.Hopefully,fromnotatingandtranscribingthesestylesthetraditioncanbepreserved.Aspecificquestionisalsotoinvestigatetheusefulnessofthemethodforgroupsofviolins.Asecondaryresearchinterestistoinvestigatehowthisworkmightinfluencethedevelopmentofmyownplaying,intermsoftechniqueandexpressing.Summaryofresearchquestions:
- HowcanIdescribeandnotatetheMiddleEasternviolinstyleswithdetails?- Whatarethemostimportantstylisticelementsandtechniques?- HowcanIteachthismusic?- HowcanIpassonthetraditionfasterandeasierwiththehelpofamethodinaway
thatdevelopsthefieldofMiddleEasternviolinstyles?- CanIdevelopmyownplayingandartisticskillsbyapplyingexercisesforstylistic
features?PreviousworkThereareisavastliteratureonMiddleEasternmusic,stillsomeacademicstudieswithinthefieldofMiddleeasternviolinplaying,butIhavefoundonlyfewstudiesrelatedtoteachingmethod.Ihavebeensearchingforalongtimeperiodtofindsourcesformethodshowtolearntoplaythismusic.WhenresearchingforliteratureonthetopicIhavefoundsomeworks,whicharesomewhatrelatedtomyresearchproject:
1 GoranKamil.ImprovisationandTechniquesinRadif.Masterthesis.CodartsUniversityofArts.2013.ThismasterthesisprojectisaboutRadif1andthewayofimprovisinginRadif.TheresearcherhasusedanddescribedsomeplayingtechniqueswhicharesimilartothetechniqueIhaveused.
2 ZozikQeredaxi.26EtudesfortheViolin.etudebook.Thisbookcontains26undetailedetudesforaclassicalviolinistusingsomeKurdishfolkmelodiesandtranscribingafewKurdishimprovisationswithsomedetails.Someornamentshavebeenusedinthisbook,whicharerelatedtothesymbolsofmymethod.
3 AfshinArdalan.PersianMusicMeetsWest.BachelorThesis.LahtiUniversityofAppliedSciencesfacultyofmusic.2012.ThisthesisisaboutbringingPersianmusicintoWesternclassicalmusicandplayingPersianmusiconWesternclassicalinstruments.HepresentssomePersiantechniquesandthewayofplayingthem,andinstrumentsfromthismusicstyle.
1Seebelow,inPersianstyle.
4 MichalisKouloumis.Taksimdevelopmentandviolintechniquesbaseontaksimsand
compositionsofHayderTatliyayandNaburTekyay.Masterthesis.CodartsUniversityofArts.ThisworkisabouttranscribingTurkishstyleTaksimplayingofHayderTatliyayandNaburTekyaywithdetailsoftheplayingandornaments.Therelevanceofthisprojecttomyprojectisthetranscriptionswithdetails.
5 EvaEilenberg.TheViolininArabicMusicDevelopingExpressivity.http://thebestofhabibi.com/vol-16-no-1-winter-1997/violin/Inthisarticle,theauthortellingaboutthewayofstartingandlearningtheMiddleEastern‘Arabic’violinstyleplaying,andabouttheproblemsofnowellestablishedmethodandthecomplexityoflearninghowtoplaythestyle.Shehasalsousedsheetmusicwhichhassomedetailsofplayingwithusingsomeglissandosbetweenthenotes.
6 SomeEtudesfromawebsite,http://www.mikeouds.com/messageboard/viewthread.php?tid=12454ThesearesomesingleetudeswithsomedetailsoftheplayingforKamancha.
7 ObeidaAmerMadi.TheViolinintheArabMusicalTraditional:HistoryandGDgdtuning.KingstonUniversity.2011.ThisisabouttheroleoftheviolininArabicmusicandtheGDGDtuning.Hedescribesthemaqamsandthewayofplayingthescales.
8 RashedJuma.AGuidetoArabicViolinTechniqueforTheClassicalViolinist.DoctoralEssay.UniversityofMiami.2002.ThisprojectistoguideclassicalviolinisttoplayArabicviolintechnique.ItincludesanoverviewoftheArabicmusicstyleanddemonstratingtheMaqamscales,GDGDtuningandnotating,smallexercisesforthetechniques,introducingsomeinstrumentsinArabicmusicsuchas‘Oud,Kanun,RiqqandDarbuka’andsomenewcompositions.Therelevantsimilaritiesbetweenthisworkandmymethodaretheexercises.HehaswrittenfourdifferentkindofsmallexercisestomaketheArabicmusicplayingmoreunderstandable.Theexercisesarefingerexercisingtofindthequartertones,smallglissandointhebeginningofamusicphrase,turnonthequartertonesandmentioningAcciaccatura.Theseexercisesaremightbeenoughasaguideforaclassicalviolinist,butinmyopinionisnotforamethodtoteachthetechniquesandthestylemoreclearly.Ihavewrittenmoreandlongerexercisesfromeasylevertoadvancedandcouldbehelpfulforthestudentstolearn.
2
Background
Theviolinwasintroducedinmiddleeasternmusicduringthe19thcentury,tosomeextentsubstitutingearlierbowedstringinstrument,liketheKamanjaortheRebab,whichactuallywerepredecessorsoftheviolin.(Boyden,1965)Sincetheearly20thcenturytheviolinhasbeenoneofthemostpopularinstrumentsinthemiddleeast,inclassical,popularandfolkmusic.Thepopularityandadaptationoftheviolininmiddleeasternmusictraditionsmightpartlyberelatedtothenon-frettedfingerboardoftheviolinwhichmakesitpossibletoperformthemicro-intervalalterations,quartertones,thatarekeyelementsoftonalsystemsinmiddleeasternmusictraditions.Manyofthesetraditions,suchasArab,Turkish,Persian,AzerianandKurdishmusicsharemanyfeatures,suchasatonalsystemrelatedtothemaqamsystem,andwillhenceforthbetermedOrientalmusictraditions.(Todorov,2018)Althoughtheviolinhasarathershorthistorywithinorientalmusicincomparisonwithsomeotherinstruments,therehasemergeddifferentstylesofplayingtheviolinwithinorientalmusic,whichareclearlydistinguishablefromstylesofplayingtheinstrumentine.g.Western
2(Juma,2002)
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classicalmusic,WesternfolkmusicorIndianmusic,traditionswheretheviolinalsohasaprominentposition.However,thereisveryfewstudiesofstylesofviolinplayinginorientalmusic,nottomentionviolinmethodworksfororientalmusic.(Juma,2002)Themethodusedforteachingtheinstrumentismostlyborrowedfromwesternclassicalmusic,whichmeansthataplayerhastolearnthespecificstyleofplayingbylisteningtorecordings,meetingwithteachers,imitatingetc.
IgrewupinSulaimaniyah,atownintheNorthernpartofIraq,knownasKurdistan.ThispartofIraqishabituatedbytheKurds.TheKurdshavetheirownlanguage,culture,andcustoms,whichsetthemapartfromArabsintheSouthernpartofIraq.ThepopulationoftheKurdsinIraqisapproximately6million.Geographicallyspeaking,theKurdsshareboarderswithTurkey,Iran,Syrian,andIraq.Beingsurroundedbymanydifferentcultures,theKurdshavebeengreatlyinfluencedbytheseneighboringcountries.Thisiscertainlythecaseinthefieldofmusic.KurdishmusicsharesmanycharacteristicswithTurkish,Persian,andArabicmusic,butatthesametime,stillhasitsownuniquecharacteristics.Forinstances,alltheseMiddleEasterncountriesusethesamemodalsystemintheirmusic.Thissystemiscalledthe“Maqamsystem”.(Todorov,2018;Kamil,2013)Furthermore,theornamentsusedininterpretingthese“Maqams”arequitesimilarbetweenthesecountries.Thatsaid,eachculturehasitsownuniquewayofinterpretingthesescales.Meaning,ifyouhearthesame“Maqam”inTurkey,andinKurdistan,theywouldsoundquitedifferent.
WhenIfirstbeganplayingtheviolininKurdistan,IstartedoutbylisteningtoKurdishsongsandtryingtoplaythemontheviolin.Afterdoingthisforawhile,Irealizedthatthismethodhaslimitationsandformetogofurtherinlearningtheviolin,Ihadtolearnhowtoreadmusic.ThereweremanyKurdish,Turkish,Persian,andArabicsongsavailableinsheetmusicform,butIcouldnotreadthem.Forthisreason,IstartedlearningthetraditionalWesternclassicalscalesandetudes.Thishelpedmedevelopmyviolintechniqueandgavemetheabilitytoreadmusic.Afterdoingthisforafewyears,IbegantonoticeasignificantimprovementinthewayIwasplayingKurdishmusic.Aroundthistime,Ialsobegantakingprivatelessonsfrom“DilerHussein”whoisawell-knownteacherinmycity.IwantedhimtohelpmefurtherdevelopmyabilitiesinplayingKurdishmusic.Myteacher,however,toldmethataformalmethodforteachingKurdishmusicisnon-existent.Dilersaid,hehimselflearnedonlythroughlisteningandimitation.Iremainedwithhimforafewyears.Duringthistime,hehelpedmewithClassicalmusicandKurdishmusicaswell.
Havingtheabilitytoreadmusic,Ibeganlookingforsheetmusicinorientalstyles.Whatshockedme,however,wasthatthesheetmusicforthesesongsonlycontainedthemainnotesbutdidn’tmakeanyindicationtotheornamentsusedinthem.Mynextchallengewasthentolearntheseintricateanddetailedornaments.Theonlymethodathandwasagainbylisteningandimitating.Ifacedgreatdifficultyinthisprocessbecausetheornamentsusedinthesestylesaredifficulttounderstandbyjustlisteningtothem.IthenbeganusingacomputersoftwarecalledCoolEdit(https://cool-edit-pro.soft32.com/).Thissoftwaregavemetheabilitytoslowdownthemusicandrepeatitoverandoveragain.Throughthisprocedure,Ibeganlearningandunderstatingtheornaments.
Inadditiontomypersonaleffortsinlearningtheviolin,IalsobeganmyformalstudiesinviolinperformanceattheInstituteoffineArtsinSulaimaniyah.Thisprogramconsistedoffiveyearsofstudyingmusic.Thecurriculumintheinstitutefocusedmostlyonlearning
Westernclassicalmusic.Duringthose5yearsofstudy,Iwasabletolearnadvancepiecesanddifferentstyles.Formygraduationrecital,IplayedtheViottiviolinconcertoinAminor,whichIconsideredasagreataccomplishmentgivingthelimitedabilityoftheinstructorsattheinstitute.AftergraduatingIbeganteachingtheviolinprivately.Mostofmystudentswereinterestedinlearningwesternclassicalviolin.However,Ihadsomeotherstudentswhowantedtolearntheorientalmusicandbeabletoimproviseontheviolin.Duringthistime,Irealizedhowharditwouldbetoteachthemthisstylewithoutapropermethod.MyonlyadviceforthemwastodoexactlywhatIhaddone,whichwaslisteningandimitatingdifferentrecordingsandartists.Inadditiontomyteachingjob,Ialsoworkedindifferentrecordingstudiosasastudiomusicianandwastakingpartintheproductionofnumerouscommercialsongs.Thesesongswereusuallycomposedtoincludeastringsection,consistingofviolin,viola,cello,andBass.Inadditiontothestrings,someothertraditionalinstrumentswereusedinthesesongs.Weusuallywouldhavethreeorfourdifferentviolinistsinthestudioandwouldrecordthedifferentvoicestogether.Thechallengewaswehadtodiscusswhatkindofornamentswewantedtouseandhowwewantedtodoit.Thisprocesswasapainstakingoneandtookalongtime.
Finally,afterfacingchallengesinteachingorientalmusicandimprovisationontheviolin,andhavingdifficultywhiletryingtorecordasongwithotherviolinists,IsawtheneedforapropermethodforteachingMiddleEasternmusicontheviolin.IrealizedthatIcanmaketheprocessoflearningtheviolinalotquicker.Thiswillhopefullyallowagreaternumberofpeopletolearntheviolin,andhelptopreserveandpassalongthisstylistictradition.
Inspiration
Throughoutmymusicalcareer,Ihavebeeninspiredbymanydifferentmusiciansandviolinists.Mylovetotheseartist’sstylesandplayinghasmotivatedmetospendalongtimeanalysingtheirworksandsolos.TheseartistsincludepeoplefrommanydifferentMiddleEasterncountriessuchasKurdsitan,Turkey,Iran,anddifferentpartsoftheArabicspeakingnations.
Mojtaba Mirzadeh (1945-2005)
MirzadehwasbornintheKurdishpartofIranandstudiedmusicinTeheran.Hewasagreatinstrumentalistandcomposer.TheinstrumentsheplayedincludedtheViolin,Kamancha3,andSetar4.HecomposedandrecordedmanysongsforsomeofthemostfamousKurdishandPersianartistsofthe20thcentury.TheseartistsincludeHassanZirak,MazhariXalqi,Haydeh,Moein,Gulpaandmanyothers.HewasalsoaverysuccessfulfilmcomposerandwrotemusicforalargenumberofIranianmovies.Mirzadehhadhisownuniquestyleofplayingwhichsethimapartfromeveryoneelse.HisstyleisamixtureofKurdishandPersianmusic.HisviolinsoloshadgreatimpactonmeandtrulyshapedthewayIplaytheviolin.Ispentcountlesshourslisteningtohissolosandtriedtolearnandmimiceverythingheeverplayed.(Wikipediacontributors,2019)
3(Tootoonchian,2016)4(Nassehpoor)
OneofthepieceswhichtrulyinspiredmewashisPersianvariationsforviolinandpianoonthe“SwanLake”themefromtheballetmusicbyTchaikovsky.ThisvariationpiecewasoriginallycomposedforanIraniancomedyshowfromthe1970scalledtheKaaf.Intheshow,thispiecehasbeenusedinadancescenewhichisactedbytwowellknownIranianactors:MaryApick,andParvisSayeed.Atfirst,Mirzadehplaysthefirsttwophrasesofthe“SwanLake”intheoriginalwesternclassicalstyle.Thenwhenthemainthemerepeats,healtersthemeterofthemusicfrom4/4to6/8.The6/8meterisacommondancemeterinPersianmusic.Bychangingthemetertothisdancemeter,theatmosphereofthemusicchangesimmediately.Wenowhavethemainthemefromthe“SwanLake”butwithanIraniandancemeter.Mirzadehthenaddsornamentsandvariationstotheoriginaltheme.HealsomodulatesthekeyfromDminorto“Rast”MaqamonD,andthenlatermodulatesbacktotheoriginalkeyofDminor.ThewayMirzadehmixesthesetwoworldsofWesternClassicalmusicandPersianmusicisastonishing.Inmyresearch,IhavenotatedthispieceandhavenotatedalltheinteractingornamentsusedbyMirzadeh.(IMDb)
Dilshad Said (1958-)
DilshadisawellknownKurdishviolinist,composerandconductor.HewasborninDuhok:AKurdishcityintheNorthernpartofIraq.DilshadfinishedtheInstituteofFineArtsinBaghdadin1979.HethenimmigratedtoEuropewhereheobtainedhisBachelor’sandMaster’sdegreefromtheUniversityofCompositioninWales-UK.DilshadisconsideredasoneofthemostinfluentialKurdishviolinist.Hewasthefirstviolinist/composertotakeKurdishfolktunesandtranscribesthemforviolinandpiano.WhatmakesDilshad’stranscriptionsuniqueishisuseofWesternClassicalviolintechniques.HedidthisastomakeiteasierfortheWesternlistenertounderstandandaccesstheKurdishtunes.HiseffortshavebeenagreatinspirationformebecausehehasmanagedtopresenttheseKurdishfolktunesinanentirelyfreshandmodernway.(Said,VariationsonKurdishMelodies,2004)
Goran Kamil (1971-)
Bornin1971inSulaimaniyah,heisapopularmusician,composer,andmusicteacher.GoranplaysmanydifferentinstrumentsincludingViolin,Cello,DoubleBass,Oud,Jambush,andKamancha.HeisalsoaverysuccessfulcomposerandhasproducedalbumsformanyfamoussingersinKurdistan.GoranunderstandsthedifferentMiddleEasternstylesquitewellandisoneofthefewpeopleinKurdistanwhoknowsalltheMiddleEasternMaqams.Iwasfortunateenoughtogrowupinthesamehouseholdashedid.Hedirectlyandindirectlytaughtmealotabouttheviolinandmusicingeneral.
Baki Kemanci (1968-)
BakiisapopularTurkishviolinistandcomposer.Hewasbornin1968inTurkey.Hehasbeenplayingtheviolinfromtheageof8yearsold.BakihascomposedandplayedformanyknownTurkishsingers.HeplaysandconductsmanymusicgroupsinIstanbul.Hehasopened(BakiKamanciArtHouse)inIstanbul,whichheteachesmusictheoryandviolinlessons.HeplaystypicalTurkishstylewithusingsomuchofexpressionsinhisplaying,whichmakesthelistenercouldn’tstopoflistening.Ihavebeeninspiredbyhisplayingformanyyears,andlearnedmostoftheTurkishstyledetailsandornaments.(Kemanci,BakiKemanci,2015)
Bijan Mortazavi (1957-)
Bijanisawell-knownIranianviolinist,composerandsinger.Hewasbornin1957inBabol,andstartedplayingtheviolinintheageofthreeyearsoldwithMasoudNamazian.HemovedtoUnitedStatesin1979,andhascomposedformanyIraniansingerssuchasMoein,HaydehandSattar.Hereleasedhisfirstalbum(Magic)ofhismusicandsongsin1990,andthisalbumbecamefamousamongPersianalbumsofthatyear.Hereceivedhis(PhD)inGreatBritainondevelopmentofcontemporaryMiddleEasternmusicinanacademicform.HisstyleisamixtureofPersianmusicinaclassicalformandpopstyle.HeisoneofmyfavoriteviolinistandIhaveinspiredbyhim.Ihaveplayed,performedandrecordedmanyofhismusic,andIlearnedmanyPersianstyle’sornamentsandtechniquesfromhisplaying.(Wikipediacontributors,2019)
A mapping of the styles ThroughmyexperiencesinthesestylesIhaveusedamappingmethod(Ahlbäck,
1986)todistinguishandunderstandthedifferencesbetweenthestylesof(Kurdish,Persian,TurkishandArabic),andthiscanbeausefulwaytoseedifferencesforthemusiciansbetweenthesestyles.Thisismyunderstandingandanalysisofthefeatureofthesestylesfromtheperspectiveofhavebeenplayingthesedifferentstyles.Ihavebeenlistening/playingthesestylesformanyyearsandcameupwiththetypicalaspectsthroughmyexperiences.ThisisalsodevelopedbywhatIhavelearnedfrommyteachersinMiddleEasternmusic.IhavelearnedverymuchaboutthestylesfromGoranKamilandDilerHussien,theycandistinguishthestylesverywell,andIhavebeendiscussedwiththemaboutthedifferencesandusingthemaspersonalreferences.(Kamil,MiddleEasternMusicStyles)(Hussien)
Kurdish Music Style
Expression
MusicalStructures
TechnicalQualities Instruments
1.Melancholy2.Soultouching
1.Quartertones2.Intervals3.Modes(Maqam)4.Sequence5.Bayat6.3tones(Hawramy)7.Jorjina10/168.Garyan7/89.Fast2/4
1.Softbow2.Complexlefthand3.Vibratotrills4.Glissando5.Vibrato6.SulPonticello7.Intensevibrato
1.Balaban2.Shimshal3.Tapl
*Expression:
1. Melancholy:Mostofthemusicandsongsaresad,andthisisbecauseofthemaqam,thatoftenoftenhaveasadexpressionconnotation,similarlytoMinormodeinWesternmusic.
2. SoulTouching:Inperforminginmaqamstyle,generallyhighlevelofexpressivityispreferred,andusuallyarethelistenersgetlotsofexpressionsandthistouchthesoulinagoodway.
*MusicalStructure:
1. QuarterTones:ThisismuchusedintheMiddleEasternmusicscales,includingKurdishmusic.Buttheintonationofthequartertonesisdifferentinthedifferentregionalmusicalstyles.Insomestylesthequartertoneishigherthanregularorlowerthanregularrangeofthepitch.InArabicmusictheoryaquartertoneisexactbetweenanaturalandasharptone.ForInstance,ifwetake(B)and(D)wehaveCnaturalnexttoBandCsharpnexttoD,thentheArabicquartertoneisideallypreciselybetweenCnaturalandCsharp.BCCC#DQuarter
Thisistheregularrange,anditusedonkeyboardsettings.ButinKurdishmusicthequartertoneisoftensomewhathigherthanwhatispreferredinArabicmusicandmoreclosetothesharptone.BCCC#DQuarterIfthemusicalintervalsmeasuredbycentsintheMiddleEasternmusicstyles,oneintervalequalsto200centssuchaswesternclassicalmusic.Forthispurpose,intheKurdishstyleasharpquartertoneis153centsandflatquartertoneequalsto47cents.InArabicmusicthisproportionisdifferent,aflatquartertoneis150centsandasharpquartertoneequalsto50cents.(Kamil,MiddleEasternMusicStyles)
2. Intervals:InKurdishmusicstyletherearemanyleapsbetweentheintervals,whichisnotcommonintheothermusicstylesinMiddleEast.Thisisanexample:
Thisisasmallmelody,andasitshowstherearefiveleapsbetweenthenotes.Mostofthemarethirdsandfourths.ThisisaverycommoninmusicstructureoftheKurdishstyle.
3. Modes(Maqam):Maqams(seeabove)isMiddleEasternmusicalmodesandcorrespondingscalessuchtheMajorandMinormodesandscalesinWesternmusic.
4. Sequence:IntheKurdishmusicstylesequenceisaverycommontechniqueinitsmusicstructure.Inthistechniquethereisasmallmelodyinoneorafewbarsandthesamemelodyrepeatsononepitchlower.Forinstance,ifthefirstonestartsonCthenthenextonestartsonBandsoon.
Asweseeinthisexample,themelodycontains4barsanditstartswithBthenthefourthbarsmelodyrepeatsonA.5. Bayat:IntheKurdishstyleBayatmaqamisthemostcommonscalewhichthereareso
manymelodiesonthisscale.ThisisBayatmaqam:
6. Songsonthreetonesin(Hawrami):HawramimusicstyleisfromHawraman,and
HawramanisanareainthesouthofKurdistan,whichislocatedontheborderbetweenIraqandIran.HawramimusicisaparticularmusicstylewithinKurdishmusic.Inthismusicalstyletheremanymelodiesonjustthreetones.ThisisanexampleofaHawramimelody:
Asweseeherethemelodyisonlythreetoneswhichtheyare(a,bflatandc).
7. Jorjina(Curcuna):ThisisacommonrhythminKurdishmusic.Thisrhythmisin10/16meteranditisdividedintotwogroupsofnote(5+5),eachgrouphasfive16thnotes.
Thisisonebarof10/16rhythm.
8. Garyan:ThisisanothercommonrhythminKurdishmusic.Thisrhythmisin7/8meteranditisdividedintothreegroupsofnote(3+2+2),firstgrouphasthreeeighthnotesandtwoeighthnotesinsecondandthirdgroup.
Thisisonebarof7/8meter.
9. Fast2/4:Thisisaregular2/4meterandusedfordancingsongswiththespeedof135Bpmandmore,sometimesupto145Bpm.
*TechnicalQualities:
1. SoftBow:InKurdishandMiddleEasternviolinplayingbowingandthewayofusingis
differentcomparetomanyotherstylesofmusic.TheKurdishmusicandthewholeMiddleEasternmusicstylesmostlyaresoftmusicandsongs.Thus,thewayofusingthebowisoptimizedtogetasoftsound.Thesearethetechniquestogetasoftsound:
• Lowbowpressure.• Lowerrangespeed.• Uppertopofthebow.• Soundingpointofthebowclosetothefingerboard.
2. Complexlefthand:Withthesoftbowingwiththerighthand,thereistoomuchof
workinthelefthand.Themostfocusduringplayingisonthelefthand.Andthatisbecausetherearemanyornamentations.
3. Vibratotrills:ThisisacommontechniqueintheKurdishmusic,especiallyin(Kirmanji)5playingstyle,andcanbeconsideredanothertypeoftrill.ThisisalsoverycommonineasternEuropeanmusic,e.g.HungarianandRumanianRomanistyle.Toplaythistechnique,theviolinistmustputthetwofingersrightbyeachotheratahalfstepdistanceandvibrate.
Thisishowthesymbolappearsonthemusic:
Thisishowitisplayed,thefirstexampleisfasttrill,andthesecondoneisslower.Theviolinistcanchooseeitherofthesedependingonthecharacterofthemusic.
1. 2.
4. Glissando:Thisissimilartotheoneusedinthewesternclassicalmusic.Themaindifferencesare:first,it’susedmorefrequently.Second,itisusedbetweensmallerintervalsbothupwardsanddownwards.
5. Vibrato:Justlikeinclassicalmusic,vibratoisanessentialtechniqueinKurdishmusic.
5isoneoftheKurdishdialectspokenintheSouthernpartofTurkey.
6. SulPonticello:Thisisusedinordertogetorimitate(Shimshal6)sound.Theviolinistusedthebowclosetothebridgeoftheviolin,andwithlowpressureofthebow.
7. IntenseVibrato:inthiskindofvibrato,thefingerisnotfixedonthetopofthefingerboard.Itinsteadslidesbackandforthmuchlikeasmallglissando.
Thisishowsymbolappearsonthemusic:
Thisishowitisplayed:
Itshouldbeplayedwiththesamefingerofthefirsttone(nofingerchanges).
*Instruments:
1. Balaban:Thisisaveryoldwoodeninstrumentanditplayedbyblowing.This
instrumenthasbeenusedinmanycountriesinthemiddleeast.AnditisalsoaverycommoninstrumentinKurdishmusic.ThisinstrumentalsocalledDudukinAzeri.
PhotofromAlihanSamedov
2. Shimshal:Thisisametallicwindinstrumentwhichislikealongflute.Thisinstrumentplayedwithverticallypositioned.ItisacommoninstrumentinKurdishmusic.
6itisametallicwindinstrumentwhichislikealongflute.
Photofrommusicshopir.com
3. Tapl:Thisisarhythmicalinstrument,anditissameasZarb.ThedifferentbetweenTaplandZarbisthebodyoftheTaplismadeofmetal,butthebodyoftheZardmadofwood.Andbothhavesheepskintothetopeoftheinstrument.
Persian Music Style
Expression
MusicalStructures
TechnicalQualities Instruments
1.Sonati2.Melancholy
1.Radif2.Bandari6/83.LongTaksim4.Singleinstrument5.HighQuartertones
1.Bowtechniques2.Complexlefthand3.Appoggiaturas4.Triplet5.Samepitchtriplet6.Trills7.Glissandos
1.Santur2.Tar3.Setar4.Daf5.Zarb
*Expression:
1. Sonati:ThisisanIraniantraditionalmusicstyle.ThisausuallyagroupofmusicianwitholdtraditionalinstrumentssuchasTar,Santur,Kamancheh,Setar,Oud,DafandZarb.
2. Melancholy:Seeabove.*MusicalStructure:
1. Radif:ThisisasystemforplayingPersianmusicbyMirzaAbdulla(1833-1918).*“TheRadifisthetraditionalmodelrepertoryofIranianclassicalmusic”(ICH).Thissystemcontains250Iraniantraditionalmelodieson7Destgah(Kamil,2013).TheseDestgahsareformedonMaqams.TheDestgah:
• DestgahShur• DestgahMahur• DestgahSegah• DestgahChaegah• DestgahNava• DestgahRastpenjgah• DestgahHumayon
(Shabahang)
2. Bandari6/8:Thisisadancerhythmandtheyusuallyuseitwithdancesongsandmusic.(Friend,1998)
3. LongTaksim:TheyusuallyplayaverylongtaksimincludingallthepartsoftheDestgah.
4. SingleInstrument:InPersianmusictheyhaveonesoloinstrumentplayingandperformingwhichiscalledTaknavazi.Andthisisverycommonineverymusicconcert.
5. HighQuartertones:UsingthequartertonesinIranianmusicishigherthattheregular
rangeofthepitchandmoreclosetothesharptone,similartoKurdishmusic.ArabicRange:BCCC#DQuarterPersianRange:BCCC#DQuarter
*TechnicalQualities:
1. BowingTechniques:IntheIranianmusicstylethereis(Chaharmezrab).*“Theliteral
meaningofthetermis'fourstrokes'or'fourplucks'.”Thisisarhythmandtheplayerplaystherhythmofthesonginacontinuedwaybesideplayingthesongorthetune,whichmeanstheplayerplaysthemusicandalsomixedwiththerhythm.Andthisusedtobeplayedwithdifferentbowings.(SchoolofOrientalandAfricanStudies)
2. ComplexLeftHand:Seeabove.
3. Appoggiaturas:TheyusemanyAppoggiaturasduringplayinginPersianstyle.
4. Triplet:Theyusemanytripletsintheirmusic.
5. Samepitchtriplet:ThisisverycommontechniqueinPersianmusic,whichtheyuseitinsingingandplayingaswell.Theymakeonenotetothreenotesastriple.Butthisisdifferentfromsingingtoplayingitwithinstrumentespeciallythebowedinstruments.Thisishowitshouldbesinging:
Thisishowitshouldbeplayed:
6. Trills:Theyalsousemanytrillsinplaying.
7. Glissandos:UsingmanyGlissandosaswell.*Instruments:
1. Santur:ThisisastringedinstrumentwhichimprovedinIran.Itmadeofwoodandit
has72strings.Thisinstrumentplayedwith(Mizrab)whichisliketwosmallmallets.ItisverycommoninstrumentinPersianmusicstyle.
2. Tar:Thisisastringedinstrumentandplayedwithapick.Itmadeofwoodandisaskinunderthestringbridgetohasaloudsound.Itpositionedonlapduringplaying.ThisisoneofthemostpopularinstrumentinPersianmusic.
3. Setar:Thisisalsoastringedinstrumentandmadeofwood.ItknownasasmallTar,butthisissmallerandnoskinonthesurface.Itplayedwithonefingernail.Ithasaverybeautifulandsoftsong.
HosseinAlizadeh
4. Daf:Thisisarhythmicalinstrumentithasacercalshapeandmadeofskinwithaframeofwood.
5. Zarb:Thisisalsoarhythmicalinstrumentandmadeofwoodandhasskinonthesurface.Thisinstrumentpositionedonlap.
Turkish Music Style
Expression
MusicalStructures
TechnicalQualities Instruments
1.Melancholy2.Fluidity
1.Longtones2.Lowquartertones3.Jorjina10/164.Different7/85.Rhythm9/86.Arabesque
1.Violinholding2.ClarinetPlaying3.Glissandos4.Longslurs5.Chromatic
1.YayliTanbur
*Expression:
1. Melancholy:Seeabove.
2. Fluidity:IntheTurkishmusicstyleviolinplayingusuallyexaggeratedsoftnessheardbyusingsoftandupperofthebow,andusingmanyofslursandverylittlebowchanging.Thismakesthesoundfluidityandthisisapartofthestyle.
*MusicalStructure:
1. LongTones:InTurkishmusicstylelongtonescanbeheardespeciallyduringplayingtaksim.
2. LowQuartertones:UsingthequartertonesinTurkishmusicislowerthattheregularrangeofthepitchcomparetotheArabicrange,andthesharpquartertonesaremoreclosetothenaturaltones.Therearealsootherhigherandlowerquartertonesandusedbymentioningnumbers(2or3)nexttothequartertonessigns.
ArabicRange:BCCC#DQuarterThisistherangeofthegenerallyusedquartertones.TurkishRange:BCCC#DQuarter
3. Jorjina(Curcuna)10/16:Seeabove.
4. Different7/8:Theyuse7/8metersignaturein3differenttypesofgroupings.(3+2+2),(2+3+2)and(2+2+3):
•
•
•
5. Rhythm9/8:InTurkishstyle9/8metersignatureusedin4differenttypesofgroupings.(2+2+2+3),(2+2+3+2),(2+3+2+2)and(3+2+2+2):
•
•
•
•
6. Arabesque:ThisisafamousandpopularmusicgenreintheMiddleEast,highlyornamented,anditbasedonArabicmusicandimprovedinTurkey.“Anornamentoranembellishedwork.ThetermistakenfromtheArabicartandarchitecturewhichwasveryornate.Thistermisusedforvariouskindsofmelodic,contrapuntal,orharmonicornamentation.”(Artopium)
*TechnicalQualities:
1. ViolinHolding:HoldingtheviolinduringplayingisdifferentinTurkishmusicstyle.The
violinistholdstheviolinwithoutshoulderrestandpositionedmoreonthechest.Alsoholdingtheviolinbythelefthandandfacingthesurfaceofhandtotheneckoftheviolin.ThismakestheTurkishornamentseasierandpromotesslidingandsoftnessinbowing.
2. ClarinetPlaying:AstheyareknownbyhavingvirtuosoclarinetplayerofMiddleEasternmusic.
3. Glissandos:Seeabove.
4. LongSlurs:IntheTurkishmusicstylelongslurusedverymuch,andthisisformakinga
softsoundofplaying.Andmeansplayingmanynotesinonebowforthebowedinstruments.
5. Chromatic:ThisisaverycommontechniqueinTurkishstyle,andtheyplaychromatic
byswipingthefingersonthenoteswithalongslurwhichitsoundslikealongglissando.
*Instruments:
1. YayliTanbur:ThisisatraditionalandoldTurkishinstrument.Itisstringedandplayedwithbowandithasalongneck.ThisisacommoninstrumentintypicalTurkishmusic
style.TheYayliTanburistplayingmanyglissandoduringplayingandthisisbecauseofthelongneckoftheinstrument.
Arabic Music Style
Expression
MusicalStructures
TechnicalQualities Instruments
1.Melancholy2.Exploring
1.Saba2.Rast3.SemaiForm10/8
1.Complexlefthand2.Trills3.Turns4.Doubleturns5.Glissandos
1.Khashaba2.Oud
*Expression:
1. Melancholy:Seeabove.
2. Exploring:ExaggeratingwithexploringintheMaqamsiscommonandcanbeheardclearlyintheArabicmusicstyle.ThismakesthelistenertoexplorewithmusicintotheMaqamfeelingsandgivesextraexpressions.
*MusicalStructure:
1. Saba:ThisisamaqamandverypopularinArabicmusicstyle.ThismaqamhasanArabianatmospherefeeling.
2. Rast:Rastalsoisamaqamandtheyhavelotsofmusicandsongsonthisscale.
3. SamaeForm10/8:ThisisanArabicformofmusic,whichtheyhavemanymusiconthisform.
*TechnicalQualities:
1. ComplexLeftHand:Seeabove.
2. Trills:FastandlongtrillsisaverycommontechniqueinArabicstyle.
3. Turns:Usingmanyturnsduringplaying.
4. DoubleTurns:Theyalsohavedoubleturns,whichtheyplaytwoormoreturnsinarow.
5. Glissandos:PlayingGlissandoalsoisverycommon.
*Instruments:
1. Khashaba:Thisisarhythmicalorientalinstrument.Itmadeofwoodandaskinonitssurfacewithasmallsize.Theplayerholdstheinstrumentunderthearm.AnditisverypopularinIraqiArabianmusicstyle.
2. Oud:ThisisthemostpopularandsignificantinstrumentinArabicmusicstyle.Theyuseitalmostineverysongandeverymusic.Thisisastringedinstrumentandplayedbyapick.Itmadeofwoodandithasabigbody.
Mapping the styles
Listening list of Middle Eastern violin styles ThisismysuggestionforalisteninglistoftheviolinstylesofKurdish,Persian,TurkishandArabicmusic.Kurdishstyle:
1. MojtabaMirzadeh;(Mirzadeh,2014)2. DilshadSaid;(Said,2013)
Persianstyle:
1. PavizYahaghi;(Yahaghi,2012)2. AsadollahMalek;(Malek,2011)3. BijanMortazavi;(Mortazavi,2016)
Turkishstyle:
1. BakiKemanci;(Kemanci,2016)2. ŞenolDinleyen;(Dinleyen,2016)
Arabicstyle:
1. MahmoudSorour;(Sorour,2016)2. MohamedAminQari;(Qari,2019)3. AttiehSharara;(Sharara,2015)
Method
The method of the research study:
Theresearchpartofthisstudyhasbeendesignedtoexplorehowstylisticfeaturesofthestylescanbedescribed,representedinnotationandcommunicated.
Ithasbeenpreformedinaniterativeprocessstartingfrompickingsomerecordingswithviolinists,whichIconsidertobetypicalandexcellentexamplesofthestyles.ThenIstartedbylisteningrepeatedlytotherecordings,whichIthenimitated,tryingtocaptureandreplicatethestyleinmyownplaying.Asasecondstep,Irecordedmyperformanceandevaluatedmyperformancebylisteningtotherecordings,andtryingtoperfectmyplayingbyreturningtothefirststep.OnceInewhowtoplaythisproperlyIstartedtotranscribetherecordings,firstlyintoabrieftranscriptioninthemannerhowthismusicisgenerallypresentedforperformers,withoutdetailsandstylisticallysignificantelements.Thosearegenerallynotneededforperformersthatknowthestylebyheart.
Inordertotryandcapturethestyle,Ithenmadeaseconddescriptivetranscription,tryingtocaptureallthesignificantdetailsoftheperformance.Sincethisdetailedtranscriptioneasilygetscloseto”unreadable”fromaperformancepointofviewand,assuch,hardtouseforcommunicatingthescores,Istartedinthefourthsteptotryandrepresentdifferentaspectsoftheplayingstyle,suchase.g.ornaments,bysymbols.Thus,reducingthescoreintoaperformancereadablescore,butkeepingthestylisticelements.
Ithenevaluatedtheresultbytryingmyselftoplayitandtestingitwithotherviolinists,bothknowledgeableaboutMiddleEasternmusicandnovicesaswellasdiscussingwithmysupervisor.Ialsodidthisinsomeexperimentalsessions(seefurtherbelow).
AfterevaluatingIreiteratedtheprocess,sometimesleadingtoalterationsofthesymbolsused,inventionsofnewsymbolsandaddingstylisticelements.
Thisprocesswasrepeatedforcharacteristicpiecesofthedifferentstyles.
Inordertoseewhetherstylisticcompetencecouldbedevelopedfromusingthesespecificstyleelementsinageneralway,Ithenconstructedexercisesbasedontheidentifiedstyleelements,inthemanneroftraditionalviolinschoolexercises,ontranspositionsofscalesandphrasesinasequenceofdifferenttempos,applyingWesternviolinmethodologyonMiddleEasternStylemusic.
Theseexerciseswereevaluatedbypracticingduringsomeintenseperiodandbyapplyingtheminexperimentalsessions(seefurtherbelow)
The violin teaching method:
Themethodcontainstwomajorparts:
• Thesymbols:1. Exercises2. Themostcommontechniques
• Themusicpieces:1. Simpleversion2. Theversionwiththeornaments
ListeningandTeachingImitation
RecordingandEvaluate
Transcribinga) Simplifiedb) Detailed
ReducingthedetailedRepresentSymbols
Undetailed version:
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(The Symbols)
TotranscribeandnotatethedetailsoftheMiddleEasternmusicIhaveusedsomesymboles:
Thisisasmallglissandobetweentwonotes,fromatonetoanothertonewithahigherpitch.Thisishowitappearsonthemusic:
Andthisishowitisplayed:
Thisisalsoaglissandobetweentwonotes,fromatonetoanothertonewithalowerpitch.Thisishowitappearsonthemusic:
Andthisishowitisplayed:
Andforalltheothertoneswithglissando,therearefingeringsthatlearnercanfollow.
ThisisasymbolforaverycommontechniqueinMiddleEasternfolkmusic.Havingthissymbolonatonemeanstoplaythefirsttoneanddoaglissandotothenexttoneabove,thenglissandobacktothefirsttone.Thisalsoshouldbeveryfastastwosixteenthnotes.Forinstance,ifthissymbolappearsonanAnote,itmeansplayAnaturalthenglissandotoBnaturalandagainglissandobacktoAnatural.ThefirstAandBtonesarelikeappoggiaturawithglissandosbetween.Thisishowitappearsonthemusic:
Andthisishowitisplayed:
Thisiswhatcalledquartertone.Itishigherthanflattones,andlowerthannaturaltones.Itisbetweenaflattoneandanaturaltone.Thisishowitappearsonthemusic:
Thisisalsoaquartertone.Itishigherthannaturaltones,andlowerthansharptones.Itisbetweenanaturaltoneandasharptone.Thisishowitappearsonthemusic:
Thisistrillasitsknown.IntheMiddleEasternmusic,usuallytherearemanyoftrills.ThisonethatIhaveusedisalikewithclassicalmusictrills.Itstartsfromatonethathasthetrillanditplayedwiththenexttoneonahigherpitch.
Thisishowitappearsonthemusic:
Andthisishowitisplayed,thefirstexampleorthesecondonecanbechosenaswayofplayingit:
Appoggiatura;intheclassicalmusictheAppoggiaturasusuallyexistsbehindthenotes.But
intheMiddleEasternmusictheAppoggiaturasarebackwardtothenotes,whichshouldbeplayedafterthemainnote.Thisishowitappearsonthemusic:
Thisishowitisplayed:
TurnThisishowitappearsonthemusic:
Thisishowitisplayed(generallyitisplayedveryfast):
MordentThisishowitappearsonthemusic:
Thisishowitisplayed:
ThisisDoubleInvertedMordentThisishowitappearsonthemusic:
ThisishowIhaveusedthemtobeplayed,whichmaybedifferentcomparetoitsoriginal.Thisishowitisplayed:
Thissymbolisforanintensevibratoonthetones.Thevibratoswiththissymbolshouldhaveslidingfromthetonethathasthesymboltoatoneaboveandatonebelow,buttheslidestotheothertoneshouldbehalfofaquartertone.Thisishowitappearsonthemusic:
Thisishowitisplayed:
Itshouldbeplayedwiththesamefingerofthefirsttone(nofingerchanges).
ThisisthesameRubatothathavebeenusedintheclassicalmusic.Thismeans(playwithalittlefreerhythm),whichmeansthenotescanbeplayedlittlelongerorshorteraccordingtothephrases.
VibratoTrill;ThisiscommontechniqueintheMiddleEasternstyles,especiallyintheKurdishmusicstyle.Thisisexactwithitsownname,VibratowithTrilltogetheronthesametime,aslongasthelengthofthenotethathasthissymbol.Thisishowitappearsonthemusic:
Thisishowitisplayed,thefirstexampleorthesecondcanbechosen:
Itisthesameasregulartrill,buttheonlydifferenceisdoingvibratowhiledoingthetrill.Ithastobetrilledwithhalfnotesalways.
ThisisDoubleTurnssymbol,whichisaverycommontechniqueintheMiddleEasternmusic,especiallyinArabicmusic.ItisasortofregularTurn,butthishastobeplayedtwice.Thisishowitappearsonthemusic:
Thisishowitshouldbeplayed:
ThisisanothercommontechniquefromthePersianfolkmusic,whichalsousedverymuchwithvocalinthePersianstyleofsinging.Thissymbolusedfortriplingamusicnoteonthesamepitch.Forinstance,ifitexistsonaCnote,itchangesittothreeCsuchatriplet.Thistechniquecalled(Chah-chaha)inFarsi.Thesametechniqueisexistingfortheinstruments,butinsteadofseparatingthethreetripletnotes,itplayedwithtwoappoggiaturas.Forinstance,oneoftheappoggiaturastakesplacebetweenthefirstandsecond,andtheotherbetweensecondandthirdnotes.Thisishowitappearsonthemusic:
Thisishowitissinged:
Thisishowitisplayed:
Experiment – videotaped tests with Swedish fiddlers
First experiment:
Iwasinterestedifthemethodincludingasimplerandamoredetailedversionofatuneaswellaspracticingamaqamonbeforehandplayingapieceweresufficientforlearningtoplaythismusicifyouarenotfamiliarwiththemusiconbeforehand.IconductedanexperimentsessionwiththreeSwedishfiddlers.ThesessionwasvideorecordedandIdidexaminetherecordingafterthesession.IpreparedtwoKurdishpiecesintwoversions,onewithoutdetailsandonewithornaments.Ialsosentthefiddlersarecordingofmyplayingofthepieceswithadescriptionlistoftheornamentsandmaqamscales.However,noneofthemhadlistenedtoitonbeforehand.ThesepiecesareKurdishfolksongs,andtheyareintwodifferentmaqams.OneofthemisinAjammaqam,whichissimilartoamajorscaleinwesternmusicandtheotherisHussienimaqamwithquartertones.Choosingthesetwodifferentmaqamswastoknowhowtheparticipantswereabletoplayquartertonesandalsotogetthemintothemusic,startingfromthemajorscale,whichiseasierandwellknownscaleforthem.ThesefiddlersareusedtoplaySwedishfolkmusic,anditwastheirfirsttimetoplayKurdishorMiddleEasternmusic.First,westartedwithlisteningtotherecordings.Thenwebeganwithreadingandplayingthesimpleversion.AftertheylearnedthesimpleversionIshowedandexplainedtheornamentdescriptions.Beforeplayingthesecondversion,firstweplayedandpracticedtheornamentswithgivingthewayofplayingthem.Thenwestartedwithplayingthemaqamscalesofthesongs,theAjamandtheHussieniwithquartertone,andimprovisingonthescalesonebyone.Last,weplayedthesecondversion.Andforplayingthisversion,westartedthepiecewithonlyonebarwithornaments,thenlearningthesecondbarandtryingthefirstandthesecondbartogether.Weusedthiswayoflearningthepieceuntiltheendofthepiece.Resultanddiscussion:AftertheexperimentIhaddiscussionwiththeparticipants.Theyreportedthatinthebeginningoftheexperimenttheythoughtthatisveryhardtoplayandunderstandthepiecesjustbylisteningandevenwithreadingthesimpleversions.Butpracticingtheornamentsbythemselvesandusingthesecondmoredetailedversionmadeiteasierandfasterforthemtounderstanditandplayitaswell.Intheirreflectionsoverplayingthepiecesandperformingtheornaments,theyobservedthatIusevibratobetweenthenoteswhichtheyweremissinganddidnotreallyunderstand.Andmyresponsetothiswasthatinthisstyleofmusicweusetomakevibratoonthelongernotes,similarlytoslowvibratosinwesternclassicalmusic.OnethingIlearnedwasthattheydon’tgenerallyusevibratoinSwedishfolkmusic.
Myreflectionsovertheexperiment:IwasabitsurprisedthattheSwedishfiddlerswithnoexperienceinmiddleeasternmusicalstylesactuallycouldmakesenseofthesenotationsandperformquitewell,forinstancequartertones.However,afterthisexperimentandfromexperiencingthatitwasdifficulttoplaytheornamentsIhadwrittenIrealizedthatIhadtowritesomeexercisesfortheornamentsforthemtolearnandgetusedtoplaythem.Andsomethingelsewhichwasmissingwastheexpressionofthemusic.Expressionisthehardestthingtonotateandtranscribe,andthiscanbeachievedonlybylisteningtothemusicmanytimesandgetthefeelingofit.Thisisofcoursecommontoallmusicalstyles,noteveryaspectofthemusiccanbewritten.
Second experiment:
Motivation:AfteranalyzingthefirstexperimentIrealizedthattheviolinistshadafewproblemswithplayingthesongs.Amongtheproblemswere:
- Itwashardforthemtoplaytheornaments.- Theyhadproblemwiththebeats,andemphasizingthedownbeat,alsothetimingof
beats.Theideaofthesecondexperimentwastosolvetheproblemsfromtheexperiment1byusingsomeotherideas:
- Totestwhetherspecificexercisesforornamentswouldhelpthem,performthembetter?Howcantheexercisesbedeveloped?
- Iwantedtotestwhetherabackgroundtrackwouldhelpthemtoorientatewithinthestructureofthemusic?
- Iwantedtoknowhowitfeelsplayingwithnon-triadicchords?- Iwantedmorefiddlerstoparticipateintheexperiment.
Method–ExperimentdesignAlsointhiscaseIsentoutnotationsofthemusiconbeforehandandmadeavideorecordingofthesession.Thesessionlastedfor1½hour.Istartedbyplayingandwelistenedtoarecordingofthemusicbymefirst.ThenIaskedthemwhatdotheythink?Isiteasytoplaywhattheyheard?Isitpossible?Theiranswerwas“isnoteasytoplaysuchamusiclikethis”.ThenIstartedtodemonstrateanddescribethescaleandexplainedtheconceptaMaqam.IplayedtheMaqamscaleandtheyrepeateditaftermeafewtimes.Iplayedataksim(improvisationontheMaqam),andaskedthemtoimprovisealso,togetintotheexpressionofthescale.Justtwooftheparticipantsvolunteeredtoimprovise.
Afterthiswestartedtoreadandplaythesimpleversionofthemusic,withlessdetails,afewtimes.Betweenthissimpleversionandthedetailedversion,IshowedandintroducedtheornamentsandthesymbolsforornamentsthatIhaveusedinthenotations.Besidethis,Ihadtheexercisesfortheornaments.Weplayedalltheexercisesandtheylearnedtheornaments.ThenIstartedwiththedetailedversionwithaslowtempo.Firstbarfirstandplayingafewtimes,thenaddingthesecondbarandsoon.TheylearnedthewholemusicandIspeededupthetempo.Atlast,Iplayedthepre-recordedaccompanimentthatIhademadeforplayingalongwiththesonginordertounderstandthestructureofthesongandthebeatbetter.Theaccompanimententailstherhythmandthechords,andalsosomeaccompanyingvoices.ThenIplayedwiththemthesamesongwithoutmusicnotationandnoaccompaniment,andthiswastopasstheexpressionofthesongbyimitation,justplayingbyear.Thesewerethestepsoflearningthesong:
1. Listeningtothesong.(Thishelpsthestudentstohaveanideaofwhatthefinalproductshouldsoundlike).
2. Themaqamandimprovising.(Thiswastounderstandthemaqamscaleandgetusedtoit).
3. Thesimpleversionnotation.(Tolearnthemainnotesofthesong).
4. Introducingtheornaments.(Tolearnandunderstandeachindividualornamentandthecorrespondingsymbol).
5. Theexercises.(Tobreakdowntheornamentsintotheirbuildingblocks).
6. Thedetailedversionnotation.(Herethestudentswillbeabletoplaythesongwiththewrittenornaments).
7. Playingwiththeaccompaniment.(Thiswastosolvetherhythmicalproblemsandthegrooveofthesong).
8. Playingbyimitating.(Togettheexpressionofthesong).
Asmentionedabove,thesessionwasvideotaped.Evaluation:Thisexperimentwasmoresuccessfulthanthefirstoneintermsoftheparticipantslearning,becausetheexercisesmadethepiecemucheasier.Ihadmorefiddlersandthatmadethesoundbetterasaviolingroup.Theyalsohadproblemwiththeacciaccatura(backwardappoggiatura)anddownwardglissandos,buttheyreportedthattheexercisesmadethiseasieranditwouldbebeneficialtopracticetheornamentexercisesafterthesessiontoimprovetheperformance.Anotherproblemwasquartertone,whichwasalittlebittoolow,especiallytheb-quartertone.Thiswasprobablybecausetheyaremoreusedtovarytheintonationthanplayingaspecificintonationallthetime,forthequartertones;alsothatsomeofthestudentsneverplayquartertones.
Myreflectionontheexperiment:FromthesecondexperimentIthinkIfoundasolutiontotheproblemsinthefirstexperiment,bythespecificexercisesfortheornaments,andtheaccompanyingbackgroundtrackforlearningtoovercometherhythmicalproblems.Newideas:Iprefertohavemoreimprovisingonthemaqam,andalsoimprovisingbyimitating.Throughmoreofimitationincombinationwithnotationthetrueexpressionofthesongcanbepassedontotheunexperiencedinamorecomprehensiveway.
Self experiment:
Motivation:Iwantedtoknowifthemethoditselfisusefulformeaswell?Isittoocomplicated?DoIneedmoreintermediaryexercises?Andtestonmyselfbeforetestingonthestudents.Method:Howwastheexperimentperformed?
1) Recordplayingbyear.2) WrittenexercisesthatIhadnottestedwasconstructedfromexamples.3) Playwithmetronome.4) Triedtwoweekseverydayfor2hours.
Evaluation:Theexercisesweredevelopedandusefulfortheornamentsandmoreunderstandable.Thereweresomenotationmistakesandlessfingering.Resultsandmyreflections:
- Ihaveneverplayedthesetechniquesmanytimesinasequence.Comment:ThisisachallengebecauseIhaven’tusedthemonallpositionsbeforeanditisdemandingtoplaythemsequentially–takestimeandconcentration.
- Ihaveneverplayedthemwithmetronomefromslowtempotofast.- Itwasnewtoplayallthesetechniquesontheallpitches.- Itfeelsmoreemphasizingthetechniques.- Alltheornamentsbecameeasierandmorecomfortabletoplaythroughmyfingers.
Allinall,itturnedoutthatevenforme,itisusefulsinceitmakesmemoreawareoftheornamentsandalsogivemeamoreflexibletechnique.
Private experiment:
Duringcreatingthemethod,Ihadtwoviolinists,oneofthemisanorientalKurdishviolinistandtheotherisaclassicalviolinistthatagreedontestingmymethod.Rebazisorientalviolinist,andRebinisclassical.Iwrotethenotationsandsentittothemiteratively,andthenIwasaskingthemtoplayandrecordexactlywhatIhavewritten.Iwasalsochattingbycameraandaskingthemtoplayformelive.Theorientalviolinistwasmissingsomesmalldetailswiththenotationssometimes,andwasturningtoplaybyearwithmoreexpression.Theclassicalviolinistwasreadingandplayingthenotationswithallthedetails.Theyweresendingme
recordingsandIwasanalyzingtheirplayingwiththenotations,andaddingmoreornamentswithmoredetails.Ichangedmanyofthesymbolsinordertomakethemunderstandable,andmadethedetailscleartogetandhearwhatIwantedtobeplayed.Manynotationproblemsweresolvedthroughthisprocess.Itwasusefulformetohavethetwoofthemtryingoutmynotationsinordertounderstandwhatproblemwillbe,andalsotoseehowthemethodworkswhensomeonesuchastheseviolinistswanttousethemethod.
The Concert
Myfinalmaster’sconcerttookplaceatKMH,IplayedanddemonstratedthefourstylesofKurdish,Persian,TurkishandArabicwithimprovisations.Thiswasanewexperienceplayingallofthesetogetherinoneconcert,anditisnoteasytoplayandfocusontheornaments,techniquesandexpressionatthesametime.Ialsoplayedtwopieces,whichtheywereamixtureofMiddleEasternandwesternclassicalstyle.ThefeedbackoftheconcertwassuccessfulandIwassatisfiedfromlisteningtotherecordings.Isharedthestagewithsomeotherorientalmusicians.IalsosharedoneoftheexperimentofmymasterprojectwithsomeSwedishfiddlersbyplayingaKurdishtuneliveonstage.Thiswasthefinalexperimentasaliveplayingtest.Thiswastheconcert’sprogram:
1. SamaiHijazGökselBaktagir(Turkish)2. BogaziciBakiKemanci(Turkish)
AlanKamil–ViolinFerasSharstan–KanunSamanTaha–PianoMårtenHillbom–RaqqandCajon
3. SwedishfolkmusicmeetsKurdishfolkmusic!(KurdishandSwedish)
AlanKamil–ViolinTommyLundberg–Violin
4. PirozbeNasirRazazi’sSong(Kurdish)
Violins:AlanKamilTommyLundbergAnnaEkborgSandraArvmanNichelleJohanssonSamanTaha–PianoMårtenHillbom–Cajon
5. SwanLakeMojtabaMirzadeh(Persian)6. SoranBadinanDilshadSaid(Kurdish)
AlanKamil–Violin
SamanTaha–Piano
7. NassamAleynaelHawaRahbaniBrothers–Fairouz(Arabic)AlanKamil–ViolinFerasSharstan–KanunSamanTaha–PianoMårtenHillbom–Darbuka
8. EshvehBijanMortazavi(Persian)
AlanKamil–ViolinSamanTaha–Piano
Discussion – summary
WhatdidIlearnbyconductingtheseexperiments?ThiswasmyfirsttimetoteachsomeoneMiddleEasternstyleviolinplaying.Moreover,Ihadnotwrittenexercisesordetailedinthiswaybefore.Itwaschallengingtoteachsomeoneacomplicatedmusicwhodidnothaveanybackgroundaboutthatstyleofmusic.Icouldseethatsomeelements,thatwastechnicallydemandingorforeignwasnoteasilylearnedbytheunexperiencedlearners,whichhaltedthelearningprocess.Simultaneously,someelementsthattheyfeltconnectedto,wasimmediatelyadaptedtotheirownplayingstyle,missingoutsomeimportantfeaturesofthestyle.FromthisexperienceIlearnedthatIneedtotakeintermediarysteps,whichledtothedevelopmentofspecificexerciseswiththeaimofhelpingoutwithspecificinstrumentalhurdlesandalsointroducingstyleelementsinarigorousmanner.Isthemeansofcommunicatingstyletechniqueinmyworkhowever,canbeaproblemrelyingtoomuchonnotations?Yes,itisaproblemrelyingtoomuchonnotation,asIhavementionedthatthismethodisnotenoughwithoutlistening.Thismethodcanbeusedasatool,itisforthosewhowanttonotatethiskindofmusicwithalldetails,andalsoforthelearnertohavesomethingtounderstandthemusicthrougheyesnotjustbylisteningagainandagain.Ihavebeenspendingtimetounderstandtheornamentsandslowingthemdown,butnowstudentscanseethetechniquesclearlywithhavingexercisestogethighskillsofplaying.Whatcouldbethenextsteps?ThenextstepcouldbeexperimentingthismethodwithMiddleEasternmusicstudents.Transcribingmoremusicandsongsfromthesestyleswithusingthesymbolsforthedetails.ThroughthisprojectIhavelearnedmoreaboutthestyles,andhavelearnedmoredetailsofplayinginthesestyles,andIalsoexploredandreadmoreaboutthem.
Conclusion
Thisthesisisonlythefirststepinamuchlargerproject.Aftermygraduation,myhopeistorefinemyworkandorganizeitinaseriesofpedagogicalbooksstartingfrombeginnertomostadvance.ThesebookswillbeaccompaniedbyaDVDinwhichstudentscanfindvideosmadebymyselfexplainingalltheexercisesandtunesinthebook.Furthermore,Iwouldliketoteachandtrainotherteachersinmycountry,andfamiliarizethemwithmymethod.Thisway,moreandmorepeoplecanhaveaccesstoit.Finally,IwouldlikemymethodtobecomeapartofthecurriculumofthemusicalinstitutionsinIraqsuchas,theInstituteofFineArts,andtheCollegeofFineArts.Ibelievethisprojectcanchangethelivesofmanystudentsandraisethestandardsofmusiceducation.Throughtheseefforts,Iwishtoprovideasmallservicetomypeopleandmyculture.
References
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