Radif (music)

''Radif'' (, ) is a collection of many old melodic figures preserved through many generations by oral tradition. It organizes the melodies in a number of different tonal spaces called ''dastgāh''. The traditional music of Iran is based on the ''radif'', which is a collection of old melodies that have been handed down by the masters to the students through the generations. Over time, each master's own interpretation has shaped and added new melodies to this collection, which may bear the master's name.

The preservation of these melodies greatly depended on each successive generation's memory and mastery, since the interpretive origin of this music was expressed only through the oral tradition.

To learn and absorb the essence of the ''radif'', many years of repetition and practice are required. A master of the ''radif'' must internalize it so completely to be able to perform any part of it at any given time.

The ''radif'' contains several different ''dastgāhs'' which are distinguished from each other by their relationship of note intervals and the form of the movement of the melodies within them. A ''dastgāh'' portrays a specific sonic space. A ''dastgāh'' may contain approximately 10 to 30 ("melodies"). The principal of the ''dastgāh'' specify the different scales within that ''dastgāh''. The note, upon which the is based and often is the center of the , is called the ''shahed''. The ''shahed'' moves when we modulate between principal , and this movement creates a new sonic space. Rhythm in these melodies takes three different forms: symmetric, asymmetric (lang), and free form. The rhythm is greatly influenced by the rhythm and meter of Persian poetry. The instrumental and vocal ''radif'' is different from the rhythmical point of view; however, their melodic structures are the same.

The ''radifs'' for tar are one of the most famous ''radifs'' associated, with many old melodies collected that include 20–40 in each ''dastgāh''.

The ''radifs'' of Mirza Hossein-Qoli and Mirza Abdollah are the oldest ''radifs'' that are still in use for many students who wish to carry on learning Persian music. It is very famous as it consisted of many melodies collected from that time and before.

Many of the melodies were changed by Mirza Gholi and some kept same to the composer's desire, but the evidence is small to suggest melodies were changed or not, but due to ''radif'' being passed down through oral tradition (not in notation) we cannot state whether melodies were changed as we cannot compare notations or audios, but due to the mutations in music through oral transfer it is obvious.

One of the most notable tar players and repertoire of Mirza Hossien Gholi's ''radif'' was Ostad Ali-Akbar Shahnazi, who was the son of Mirza Hossien Gholi and was the first tar player to record the long ''radif'' memorized by heart. His work is still used by many Masters and are now some directions which are followed by many tar players. Of course, beginner-intermediate students will not be able to follow his works on audio due to the level at which it was performed at, so not much will be understood, but a Tar Master can expect to use it and re-focus on what was forgotten in his teachings at lesson with students. This can minimize mutations and keep the ''radif'' in line.

The ''radif'' of Mirza Abdollah was published in notation by Jean During in 1970s based on Nour Ali Boroumand, who recorded the ''radif'' by heart. On the other hand, the ''radif'' of Mirza Hossein-Qoli was first published in notation by Dariush Pirniakan in 2001. Though the ''radif'' is not popular with many young students it still is the constitute and basis of Persian music. It can be related to Classical music of western music that is not much popular, but forms the basis of Western Music.

Definition

Radif is a collection of traditional melodies in Iranian music that, in various instrumental and vocal renditions, are organized with a specific order within different ''dastgahs'' and ''avazes'' (modal systems). In other words, the radif is a method for categorizing ''gushehs'' (melodic pieces) to facilitate their learning through repetition.Fakhraddini, F. (2015). ''Analysis and explanation of the Radif of Iranian music''. Tehran: Nashr-e Mo’in. ISBN 978-964-165-098-0.

Radif is not merely a set of gushehs; as its name suggests, it also refers to the specific order of these gushehs. In each '' dastgah'', the gusheh with the lowest pitch range is usually selected as the first and is called ''daramad'' (introduction), with the other gushehs following it. The gushehs have been compiled based on the taste and judgment of masters of Iranian modal music and have been arranged in the ''maqams'' (musical modes) of Iranian music in a particular sequence. According to Majid Kiani, whenever melodies and tunes (''gushehs'') are performed in a sequence “consistent with the artistic logic and aesthetic sensibility of Iranian culture,” along with a coordination of interval proportions, melodic movement, rhythm, and the specific embellishments of this music, the result is called ''radif''. Each traditional music master creates a radif from the sequence of gushehs based on their own taste, thought, and emotion, and every creative performer, during its execution, gives birth to a new radif founded upon solo performance and improvisation.

History

Background

Before the transformation from ''maqam'' to '' dastgah'', Iranian music was taught using the system of ''maqams''. After this transformation, the melodic pieces (''gushehs'') were also categorized under the seven ''dastgahs'', and some of the ''maqams'' were preserved in the form of ''gushehs''. The beginning of the separation of Iranian music from the ''maqam''-based method likely dates back to the Timurid period (14th–15th centuries CE). However, there is disagreement regarding the exact method of music education during this period. Raphael Kiesewetter believes that the formation of the ''radif'' took place during this time, with the goal of teaching the components of Iranian music individually. Bruno Nettl also asserts that the history of ''radif'' goes back at least to the 18th century.Nettl, B. (1987). The radif of Persian classical music: Studies of structure and cultural context in the classical music of Iran. Elephant and Cat.

In contrast, Dariush Talai argues that the systematic ordering of Iranian melodies into a ''radif'' began only in the 13th century of the Iranian calendar (equivalent to the 19th century CE). In any case, there is a consensus among theorists that the purpose of creating ''radifs'' was to make it easier to teach the '' dastgahs'', ''avazes'', and ''gushehs'' of Iranian music, and that the method of instruction required students to memorize all the melodies. Meanwhile, Hormoz Farhat speculates that this transformation resulted from a decline in the skills of musicians during the Safavid era, to the point that they were no longer capable of composing or improvising within a single ''maqam'' or fixed scale. As a result, they began to combine ''gushehs'' from various ''maqams'', leading to the necessity of teaching and categorizing these ''gushehs'' separately within a ''dastgah''—even when those ''gushehs'' did not share a common scale.Tallāyī, D. (1993). ''A new perspective on the theory of Iranian music''. Mahoor Cultural and Artistic Institute. ISBN 964-8105-38-3.

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