The goal of this research is to investigate the ideas that functioned in shaping thought of Radif in Iranian Dastgahi music. In this regard by preparing the reasons, we pay attention to the function of education in co...The goal of this research is to investigate the ideas that functioned in shaping thought of Radif in Iranian Dastgahi music. In this regard by preparing the reasons, we pay attention to the function of education in codification of Radif. Although Iranian traditional music has long history but its codification to seven Dastgah-s and five Avaz-es in the format of Radif is attributed to Qajar Dynasty in the 19th century. In this transformation, Mirza Abdollah, Tar-Player of the Nasser al-Din Shah Period, has played an important role in final codification of Radif. Due to the truth that the past masters scrimped in music education, and Mirza Abdollah had encountered with problems to learn music, hence he has mostly cared about music education in adulthood, and it is probable that one of the reasons in collecting Gusheh-s （approximately a small piece of the Iranian Dastgahi music） and organizing them into coherent sets was making simplicity for the students to learn. Furthermore, masters who seriously and continuously have taught after Mirza Abdollah, left a narration （version） of Radif. On the other hand, definite patterns in placement of Gusheh-s and phrases of the Radif have been organized in a manner that makes educational function for it.展开更多
文摘The goal of this research is to investigate the ideas that functioned in shaping thought of Radif in Iranian Dastgahi music. In this regard by preparing the reasons, we pay attention to the function of education in codification of Radif. Although Iranian traditional music has long history but its codification to seven Dastgah-s and five Avaz-es in the format of Radif is attributed to Qajar Dynasty in the 19th century. In this transformation, Mirza Abdollah, Tar-Player of the Nasser al-Din Shah Period, has played an important role in final codification of Radif. Due to the truth that the past masters scrimped in music education, and Mirza Abdollah had encountered with problems to learn music, hence he has mostly cared about music education in adulthood, and it is probable that one of the reasons in collecting Gusheh-s （approximately a small piece of the Iranian Dastgahi music） and organizing them into coherent sets was making simplicity for the students to learn. Furthermore, masters who seriously and continuously have taught after Mirza Abdollah, left a narration （version） of Radif. On the other hand, definite patterns in placement of Gusheh-s and phrases of the Radif have been organized in a manner that makes educational function for it.
