Radif (music)

Radif (Persian: ردیف, lit. 'order') be sam collection of chaw melodic figures wey dem preserve through chaw generations by oral tradition. Edey organize de melodies for sam number of different tonal spaces wey dem dey bell am dastgāh. De traditional music of Iran be base for de radif top, wey be collection of old melodies wey dem hand down by de masters give de students through tde generations. Ova tym, each master ein own interpretation shape wey e add new melodies give dis collection, wey go fi bear de master ein name.

Na de preservation of dese melodies greatly dey depend for each successive generation ein memory den mastery, since dem express interpretive origin of dis music only through de oral tradition.

Say you go learn den absorb de essence of de radif, edey require chaw years of repetition den practice. Sam master of de radif for internalize am so completely so say ego be able den perform any part of am for any given tym.

De radif dey contain chaw different dastgāhs wey dem distinguish from each oda plus demma relationship of note intervals den de form of de movement of de melodies for demma body. Sam dastgāh dey portray sam specific sonic space. Sam dastgāh go fi contain approximately 10 go 30 goushehs ("melodies"). De principal goushehs of de dastgāh specify de different scales for de dastgāh ein body. De note, wey de gousheh dey base for den often be de center of de gousheh, be shahed. De shahed dey move if we modulate between principal goushehs, wey dis movements dey create sam new sonic space. Rhythm for dese melodies insyd dey take three different forms: symmetric, asymmetric (lang), den free form. De rhythm den meter of Persian poetry greatly dey influenced de rhythm. De instrumental den vocal radif be different from de rhythmical point of view; however, demma melodic structures be de same.

De radifs for tar be one of de most famous radifs wey dey associate, plus chaw old melodies wey dem collect wey dey include 20–40 goushehs for each dastgāh insyd.

De radifs of Mirza Hossein-Qoli den Mirza Abdollah be de oldest radifs wey students wey dey wish say dem go mow Persian music still dey use am. Ebe very famous as na edey consist of chaw melodies wey dem collect from dat tym den before.

Mirza Gholi change de melodies wey dem keep sam same for de composer ein desire insyd, but de evidence be small say you go fi suggest say dem change de melodies anaa dem no change, but secof say dem pass radif down through oral tradition (no be for notation insyd) we no go fi state whether say dem dey change melodies as we go fi compare notations anaa audios, but secof de mutations for music insyd through oral transfer ebe obvious.

Na one of de most notable tar players den repertoire of Mirza Hossien Gholi's radif be Ostad Ali-Akbar Shahnazi, wey na he be Mirza Hossien Gholi ein son wey na he be de first tar player wey record de long radif wey dem memorize plus heart. Chaw masters still dey use ein work wey now ebe sam directions wey chaw tar players dey follow. Of course, beginner-intermediate students no go fi follow ein works for audio top secof de level wey dem perform am for, so eno be all wey you go fi bab, but sam Tar Master go fi expect den use am den re-focus for wat dem forget for ein teachings insyd for lesson plus students. Dis go fi minimize mutations den keep de radif for line insyd.

Jean publish radif of Mirza Abdollah for notation insyd. For 1970s tyms insyd base for Nour Ali Boroumand top, wey record de radif by heart. For de oda hand, Dariush Pirniakan first publish radif of Mirza Hossein-Qoli for notation insyd for 2001. Though de radif no be popular plus chaw young students wey estill dey constitute den basis of Persian music. Ego fi relate plus de Classical music of western music wey no be much popular, but edey form de basis of Western Music.

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Category:Radif (music)
Category:Persian music
Category:Melody
Category:Masterpieces of de Oral den Intangible Heritage of Humanity