چكيده فارسي :
نگارنده در اين مطالعه در نظر دارد روشي جديد براي هارمونيزه‌كردن موسيقي ايراني، با توجه به ساختار فواصل دستگاه سه‌گاه، ارائه دهد. دليل انتخاب دستگاه سه‌گاه وجود بيشترين فاصله مجنب (145/135 سِنتي) در اين دستگاه نسبت به ساير دستگاه‌هاست. در اين روش، همه نغمههاي مورد استفاده در هر گوشه اصلي از پنج رديف معتبر شمرده شده و با توجه به آمار استفاده آن‌ها و استفاده از كتاب‌هاي تجزيه و تحليل رديف، مهم‌ترين نغمه‌ها براي ساخت آكورد آن گوشه انتخاب شده است. گوشه‌هاي انتخابيآن‌هايي هستند كه داراي فضاي مُدال مخصوص به خودند و آن‌ها را گوشه‌هاي اصليِ دستگاه سه‌گاه (درآمد، زابل، مويه، مخالف، و مغلوب) ناميده‌ايم. فضاي مُدال دستگاه سه‌گاه از به‌هم پيوستن مدهاي تشكيل‌دهنده هر يك از گوشه‌هاي اصلي شكل گرفته و ارائه هارموني مناسب براي كل دستگاه با بررسي اين گوشه‌ها امكان‌پذير است. از نتايج به‌دست آمده مي‌توان به دو نوع آكورد براي هر يك از گوشه‌ها اشاره كرد: آكورد اول متشكل از نغمههاي اصلي است؛ در آكورد دوم نغمههاي اصلي با نغمه‌هايي كه در آن گوشه نقش ملوديك را ايفا مي‌كنند همراه شده‌اند. بنابراين، براي پيوند اين آكوردها، با توجه به ترتيب چيدمان گوشه‌ها در دستگاه سه‌گاه، از نغمههاي ملوديك در يك وصل هارمونيكِ مناسب استفاده شده است.
چكيده لاتين :
This paper attempts to suggest a new method for harmonizing Persian classical music according to the interval structure of Dastgāh Segah. One of the requirements was made when performing solo was overshadowed, and then the tendency to use ensembles was increased. Each sort of ensemble needs polyphonic music, and scholars have sought to find a way to produce polyphony in Persian harmonic format. From 1954 (1314), this criteria has been used to examine polyphonic Persian harmony. However they are generally based on the principles of western music, and as a result, there are some deficiencies. The phenomenological method which is going to be used here, is a method that replaces the current external framework of examination of Persian harmony with a different framework from within Persian music. Considering that and the potential and structure of Iranian music, the method presented here is to investigate phenomenon internally; the reason for selecting the Dastgāh Segah is that, compared to other Dastgahs, it has the most “Mojanab interval” (135-145 cent). In this method, all the notes in each main Gushe of the five credible Radif are taken into account, and considering usage statistics of them as well as the books analyzing Radif, the most significant notes for composing a chord for that specific Gūshe are chosen. The chosen Gūshes are those with specialized modal qualities, which we have called them the main Gūshes of Dastgah Segāh, that include: Daramad, Zābol, Mūye, Mokhalef, Maglub. The modal ambience of Dastgah Segāh is formed by unifying the component modes of each main Gushe and representing an appropriate harmony for the whole Dasgah. For a more accurate analysis of these Gushes, the five credible Persian music Radif (Radif Sāzi Mirza Abdollāh, Aghā Hosseingholi, Musā Maroufi, Montazem-ol-Hokamā, and Radif Avazi Abdollāh Khan Davami) are compared with each other. The assumptions of this paper can be summarized as follows: 1. The possibility of composing some chords with interval Mojanab (wider than a minor second and narrower than a major second) can be found by structural analysis of the currently available intervals of Dastgah Segāh in different Radifs; 2. The main chords of Dastgah Segāh can be explained based on the structure of modal Gushes of that Dastgah since a Dastgah is formed by the modes which are arranged in a particular order; 3. For composing chords proportional to Dastgah Segāh, the role of notes such as Shahed, the final and other important notes in each Gushe, needs to be considered. The findings suggest two types of chord for each Gushe. The first chord contains the main notes, and the second one suggests the main notes are accompanied by the notes which play a melodic role in that Gushe. Thus, for making a connection between these chords considering the arrangements of Gushes in Dastgāh Segah, melodic notes in an appropriate harmonic connection are used.
