middle eastern violin method thesis1318046/fulltext01.pdfmiddle eastern music violin styles by...

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)

94<'st*r3

4

© 5 o SSSSSSSSSSSSSSSSSSSS SSSS SSSSSSSSSSSSSSSS SSSSs 5 • ■

• }• # • | Y_<G_ d

9►2Y> Fic

;_W*

e::

9►2Y> Fir

B 1 *rB>

;_W *

n3e 'st*r3

x J 1 ► ► - S < _9 ► 5J Y I & z * y$ H yd7

: y 3 ; y n ; — 3 4 3 edi1g d*g• ~ V • • l • t: 3 3y3 3)p* T N

ad;d z'* > • ' V * • ~ F ’ • _r

owygf'bcw' lhFt ywgsh..hfn fi Ftw cfyVgh*tF flnwgR rbgFtwg gwygf'bcFhfn ygfthuhFw' lhFtfbF ywgsh..hfnR

sm

c*G>•q g*r ’^"©D 2jG '►j2WDj^2^_'j

9►2Y>Fip

w©_;; M'„M ”;_j: ^7D J_j:D► 'J ̂ 7D _j^DjGDG X_^Y7

*h h1 SSSSn 4 C i mm1N• b► 4 ? sa

) £ Oy:11:y

9►2Y> Fsh

9/►j '' H/2►^D► ^'jD; 2►D /;/2©©" DWVD©©_;7DG ✓_^7 ^/►j;

O 1PB s s 1 SSSSSSSS # 4 Y' m1SSSSSSSS KY'n E ^

•

1 _

.PJ JDSg9►2Y> Fsi

”;_j: '' ✓7Dj X©2"_j: 2 W2:2W

PB —

« R t m


sm

c*G>•q g*r ’^"©D 2jG '►j2WDj^2^_'j

9►2Y>Fip

w©_;; M'„M ”;_j: ^7D J_j:D► 'J ̂ 7D _j^DjGDG X_^Y7

*h h1 SSSSn 4 C i mm1N• b► 4 ? sa

) £ Oy:11:y

9►2Y> Fsh

9/►j '' H/2►^D► ^'jD; 2►D /;/2©©" DWVD©©_;7DG ✓_^7 ^/►j;

O 1PB s s 1 SSSSSSSS # 4 Y' m1SSSSSSSS KY'n E ^

•

1 _

.PJ JDSg9►2Y> Fsi

”;_j: '' ✓7Dj X©2"_j: 2 W2:2W

PB —

« R t m


sa

9►2Y> Fss

C'Y2© C_V►2^'1? /;_j: ^7D /XXD► jD_:7V'►_j: J_j:D► ✓_^7 ©_:7^ X►D;;/►D

° _ YYYYYYYYYY » ° Hq 2 » ’ ’ ’ ’ ’ ’ ’ ► _ s s*

9►2Y> Fsm

^( _;

gWVD©©_;7DGi m d


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


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


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


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)


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


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.


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:

Violin

q=72

™

™Vln.

7

™

™

™

™

™

™Vln.

13

™

™

™

™

™

™Vln.

19

™

™

™

™

™

™Vln.

25

™

™

™

™Vln.

31

Vln.

37

™

™

™

™Vln.

43

24&

#

Hassan Zirak

Shaw

&

#

&

#

&

#

&

#

&

#

&

#

&

#

œœœœœœœœœœœœœœœœ

≈

œœœœ

œœœ œœ œ ™œ œ

œ œ

œœœœœœœœ

œœœœœœœœ≈œœ

œœœ œ œ œ

œ œ ™

œ œœ œ

œœœœœœœœ œœœœœœœ

œœœœœœœœ œœœœœ œ ™ œœ œœ ™

œœœœ œ ™

œœœœœ œœœœœ

œ ™

œœœœœ ™ œœœœ œ ™

œœœœœ œœœœœœœœœœœœœ œœœœœ

œœ

œœœœœœœœ œœœœœ

œ ™ œœ œ œœ œœ œ œ ™ œœœœœ œœœœœ

œ ™

œœœœœ ™ œœœœ œ ™

œœœœœ œœœœœ œœœœœœœœœœœœœœœœ

≈

œœœœ

œœœ œœ œ ™ œ œ

œ œ

œœœœœœœœœœœœœœœœ

≈œœ

œœœ œ œ

œœ œ ™

œ œœ œ

œœœœœœœœ œœœœœœœ œœœœœœœœ œœœœœ

Detailed version:

Violin

q=72

Vln.

6

™

™

™

™

™

™Vln.

11

™

™

™

™Vln.

16

™

™

™

™Vln.

21

™

™

™

™

™

™Vln.

26

™

™

™

™Vln.

31

Vln.

36

Vln.

41

™

™

™

™Vln.

45

24&

#3 0 0

µ�

0-1-0

.

µ0

M

.

Shaw

Hassan Zirak

&

#2 0

1

3

4-3 4

2 µ2

�

1-2-1

. 2 µM.

&

#3 3-2 0

µ3-2 1-2 0 3 0

..

&

#Ÿ 0 0 1 0 0 1 µ

0

M 3 0 T 0 1 0

&

#0-2 µ

0

µ0

M 3 3-2 0µ

3-2

&

#1-2 0

Ÿ

n

0 . .µ

n

0Ÿ

n

0. .3-2 µ

3

&

#0 T 0 0-2

µ0

µ0

M 3 0

&

#0

µ�

0-1-0

.

µ0

M

.

2 0

1

&

#3

4-3 4

2 µ2

�

1-2-1

. 2 µ M.

&

#3 3-2 0

µ3-2 1-2 0

œ œ œ œ œ

r

œ

rœ œ œ œ

œ œ œ œ œ

r

œ

rœ œ œ œ

≈

œ œœ

œr

œ œœ œ œ

œ œ ™ œ œœ œ

œ œ œ œ œ

r

œ

rœ œ œ œ

œ œ œ œ œ

r

œ

rœ œ œ œ

≈œ œ

œœ

r

œ œœ œ œ

œ œ

r

œ ™

œ œœ œ

œ œ œ œ œrœ œ œ œ œ œœœ œ

œ œ œ œ œ œ œrœ œ œ œ

œr

œ œ œ œ œ œ ™ œ œ œ

œ ™

œœr

œ

r

œ œ œœr

œ ™

œ œ

r

œ œ œ œ œ œ œ œœr

œ ™

œ œr

œr

œ œ œ œr

œ ™ œ œ

r

œ œ œ

œ ™

œ œr

œ œ œ œ œ œ œœ œ œ œ œ

rœ œ œ œ œ œœœ œœ œ œ œ œ œ œ

rœ œ œ œ

œr

œ œ œ œ œ

œ ™ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ

œr

œ ™

œ œr

œr

œ œ œ œr

œ ™ œ œ

r

œ œ œ œ ™

œ œr

œ œ œ œ œ œ œ œ œ œ œ œ

r

œ

rœ œ œ œ

œ œ œ œ œ

r

œ

rœ œ œ œ

≈

œ œœ

œr

œ œœ œ œ

œ œ ™ œ œœ œ

œ œ œ œ œ

r

œ

rœ œ œ œ

œ œ œ œ œ

r

œ

rœ œ œ œ

≈œ œ œ

œ

r

œ œ œ œ œœ œ

r

œ ™

œ œœ œ

œ œ œ œ œrœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

rœ œ œ œœr

œ œ œ œ œ

(The Symbols)

TotranscribeandnotatethedetailsoftheMiddleEasternmusicIhaveusedsomesymboles:

Thisisasmallglissandobetweentwonotes,fromatonetoanothertonewithahigherpitch.Thisishowitappearsonthemusic:

Andthisishowitisplayed:

Thisisalsoaglissandobetweentwonotes,fromatonetoanothertonewithalowerpitch.Thisishowitappearsonthemusic:


Andforalltheothertoneswithglissando,therearefingeringsthatlearnercanfollow.

ThisisasymbolforaverycommontechniqueinMiddleEasternfolkmusic.Havingthissymbolonatonemeanstoplaythefirsttoneanddoaglissandotothenexttoneabove,thenglissandobacktothefirsttone.Thisalsoshouldbeveryfastastwosixteenthnotes.Forinstance,ifthissymbolappearsonanAnote,itmeansplayAnaturalthenglissandotoBnaturalandagainglissandobacktoAnatural.ThefirstAandBtonesarelikeappoggiaturawithglissandosbetween.Thisishowitappearsonthemusic:


Thisiswhatcalledquartertone.Itishigherthanflattones,andlowerthannaturaltones.Itisbetweenaflattoneandanaturaltone.Thisishowitappearsonthemusic:

Thisisalsoaquartertone.Itishigherthannaturaltones,andlowerthansharptones.Itisbetweenanaturaltoneandasharptone.Thisishowitappearsonthemusic:

Thisistrillasitsknown.IntheMiddleEasternmusic,usuallytherearemanyoftrills.ThisonethatIhaveusedisalikewithclassicalmusictrills.Itstartsfromatonethathasthetrillanditplayedwiththenexttoneonahigherpitch.

Thisishowitappearsonthemusic:

Andthisishowitisplayed,thefirstexampleorthesecondonecanbechosenaswayofplayingit:

Appoggiatura;intheclassicalmusictheAppoggiaturasusuallyexistsbehindthenotes.But

intheMiddleEasternmusictheAppoggiaturasarebackwardtothenotes,whichshouldbeplayedafterthemainnote.Thisishowitappearsonthemusic:


TurnThisishowitappearsonthemusic:

Thisishowitisplayed(generallyitisplayedveryfast):

MordentThisishowitappearsonthemusic:


ThisisDoubleInvertedMordentThisishowitappearsonthemusic:

ThisishowIhaveusedthemtobeplayed,whichmaybedifferentcomparetoitsoriginal.Thisishowitisplayed:

Thissymbolisforanintensevibratoonthetones.Thevibratoswiththissymbolshouldhaveslidingfromthetonethathasthesymboltoatoneaboveandatonebelow,buttheslidestotheothertoneshouldbehalfofaquartertone.Thisishowitappearsonthemusic:


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:


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

Works Cited

Ahlbäck,S.(1986).Beskrivningsmodellförspelmänsspelsätt.Rapportfrånkonstnärligtutvecklingsarbete,KunglMusikhögskolan.Stockholm:opubl.Ardalan,A.(2012).PersianMusicMeetsWest.LahtiUniversityofAppliedScience.Artopium.(n.d.).Artopium.Retrievedfromhttps://musicterms.artopium.com/a/Arabesque.htmBoyden,D.(1965).TheHistoryofViolinPlayingfromitsoriginto1761.OxfordUniversityPress.Dinleyen,Ş.(2016).Retrievedfromhttps://www.youtube.com/watch?v=bCFx2IW5BpsEilenberg,E.(1993).TheBestofHabibi.Retrievedfromhttp://thebestofhabibi.com/vol-16-no-1-winter-1997/violin/Friend,R.(1998).Dahab'sBlog.Retrievedfromhttps://dahab14.wordpress.com/folklore/iran/persian-bandari/https://cool-edit-pro.soft32.com/.(n.d.).ICH.(n.d.).ICHDigitalArchives.Retrievedfromhttp://www.ichcap.org/eng/contents/ich.php?mode=view&code=H0000050IMDb.(n.d.).KaafShow.Retrievedfromhttps://www.imdb.com/title/tt2297653/Juma,R.(2002).AguidetoArabicViolinTechniquefortheClassicalViolinist.DoctoralEssay.UniveristyofMiami.Kamil,G.(2013).ImprovisationandTechniquesinRadif.MasterThesis.CodartsUniversityofArts.Kemanci,B.(2016).Retrievedfromhttps://www.youtube.com/watch?v=T5UojitOwagKemanci,B.(2015).BakiKemanci.Retrievedfromhttp://bakikemanci.comKouloumis,M.TaksimdvelopmentandviolintechniquesbasedontaksimsandcompositionsofHaydarTatliyayandNubarTekyay.Codarts,UniversityfortheArts.Mahdi,O.A.(2011).TheViolinintheArabMusicalTraditional:HistoryandGDgdtuning.KingstonUniversity.Malek,A.(2011).Retrievedfromhttps://www.youtube.com/watch?v=8Q7NRdDZO5sMirzadeh,M.(2013).Retrievedfromhttps://www.youtube.com/watch?v=usvdzIMKR0EMirzadeh,M.(2014).Retrievedfromhttps://www.youtube.com/watch?v=4DVhw4a3MykMojtabaMirzadeh,S.L.(2013).Retrievedfromhttps://www.youtube.com/watch?v=dTHXpOmX59YMortazavi,B.(2016).Retrievedfromhttps://www.youtube.com/watch?v=4WJ6rWPKNo0Nasehpour,P.(2000).Tonbak.Retrievedfromhttp://www.nasehpour.com/tonbak/zarb-dombak-or-tonbak.htmlNassehpoor,P.(n.d.).ParhamNassehpoor.Retrievedfromhttp://parhamnassehpoor.com/setar.htmlQari,M.A.(2019).Retrievedfromhttps://www.youtube.com/watch?v=sx-Nlhnmpt8Qeredaxi,Z.(2018).26EtudesfortheViolin.KHI.Razazi,N.(2008).Youtube.Retrievedfromhttps://www.youtube.com/watch?v=_YIyNdTekIA&list=RD_YIyNdTekIA&start_radio=1Romer,M.(2017).ThoughtCo.Retrievedfromhttps://www.thoughtco.com/oud-instrument-3552875

Said,D.(2010).Retrievedfromhttps://www.youtube.com/watch?v=hNNFD9qb2gQSaid,D.(2013).Retrievedfromhttps://www.youtube.com/watch?v=h99IVrayjfgSaid,D.(2004).VariationsonKurdishMelodies.KHI.SchoolofOrientalandAfricanStudies.(n.d.).SOAS.Retrievedfromhttps://www.soas.ac.uk/music/cds/torajkiaras/5-chaharmezrab.htmlShabahang,D.(n.d.).PersianMusic.Retrievedfromhttp://www.artpars.org/Music_(Theory).htmlSharara,A.(2015).Retrievedfromhttps://www.youtube.com/watch?v=2n66UhXBg0wSorour,M.(2016).Retrievedfromhttps://www.youtube.com/watch?v=GMxCHR4K6I0Todorov,F.(2018,1201).ArabicMaqamWorld.Retrievedfromhttps://www.maqamworld.com/en/index.phpTootoonchian,H.(2016).Rhythmitica.Retrievedfromhttps://www.rhythmitica.com/blog/kamancheh-instrument-persian-kamanchehWikipediacontributors.(2019).BijanMortazavi.Retrievedfromhttps://en.wikipedia.org/w/index.php?title=Bijan_Mortazavi&oldid=893340235Wikipediacontributors.(2019).MojtabaMirzadeh.Retrievedfromhttps://en.wikipedia.org/w/index.php?title=Mojtaba_Mirzadeh&oldid=887817561Xalqi,M.(2011).Youtube.Retrievedfromhttps://www.youtube.com/watch?v=PYhy7WqJGRsXalqi,M.(2011).Youtube.Retrievedfromhttps://www.youtube.com/watch?v=PYhy7WqJGRsYahaghi,P.(2012).Retrievedfromhttps://www.youtube.com/watch?v=RJ3QQ2rPOxYZirak,H.(2007).Retrievedfromhttps://www.youtube.com/watch?v=iDTu9ki2TEgZirak,H.(2008).Retrievedfromhttps://www.youtube.com/watch?v=j4lzZs0EsEM

middle eastern violin method thesis1318046/fulltext01.pdfmiddle eastern music violin styles by...

Documents