RADIF (The Traditional Repretory of Iranian Classical Music) - ردیف موسیقی ایران

کنوانسیون میراث معنوی یونسکو ، ردیف موسیقی ایران را به فهرست جهانی میراث ناملموس افزود. البته جایگاه پر ارزش ردیف بر آنانکه با موسیقی ایرانی در ارتباطند ، پوشیده نیست ، اما این میراث جاودانه ، که سینه به سینه به دست ما رسیده ، می تواند تعلق خاطر بسیاری از هنردوستان در همه ی جهان باشد . میراثی که شاید در زادگاه و پرورشگاهش ، غریب افتاده باشد . دکتر محمد سریر ، عضو خانه موسیقی در گفتگویی اشاره کرده اند که "براي تهيه پرونده مربوط به رديف هاي موسيقي سنتي به حمايت ارگان هاي دولتي براي تامين بودجه نياز داشتيم و متاسفانه به رغم تلاش براي جلب مشارکت ارشاد هيچ پاسخ مثبتي نگرفتيم و لذا مدتي اين کار به حالت تعليق درآمد".

به منظور تکمیل مستندات یونسکو در این باره ، پیشتر پرونده ای از سوی خانه موسیقی گردآوری و به همراه یک فیلم مستند ارسال می شود . در این مستند مصاحبه هایی با اساتید موسیقی ایران از جمله محمدرضا شجریان، فرهاد فخرالدینی ، هوشنگ ظریف ، نصرالله ناصح پور ، حسین علیزاده ، حاتم عسگری، مجید کیانی ،داریوش پيرنياكان ، داود گنجه اي ، و داریوش طلایی ، درباره ردیف ترتیب داده شده است .


The Radif of Iranian music is the traditional repertoire of the classical music of Iran that forms the essence of Persian musical culture. More than 250 melodic units, called gushe, are arranged into cycles, with an underlying modal layer providing the backdrop against which a variety of melodic motifs are set. Although the main performance practice of Iranian traditional music unfolds through improvisation according to the mood of the performer and in response to the audience, musicians spend years learning to master the radif as the set of musical tools for their performances and compositions. The radif may be vocal or instrumental, performed on a variety of instruments with different performance techniques including the long- necked lutes tār and setār, as well as the santur hammered zither, kamānche spike fiddle and ney reed pipe. Passed from master to disciple through oral instruction, the radif embodies both the aesthetic practice and the philosophy of Persian musical culture. Learning the radif stretches over at least a decade of self devotion during which the students memorize the radifs repertoire and engage in a process of musical asceticism intended to open the gates of spirituality. This rich treasury lies at the heart of Iranian music and reflects the cultural and national identity of the Iranian people.
Documents * Nomination form: English|French * Consent of communities: English

Decision 4.COM 13.45

The Committee () decides that [this element] satisfies the criteria for inscription on the Representative List, as follows: * R1: The Radif of Iranian music is recognized as an expression of cultural identity, transmitted from one generation to the next as the principal emblem of Irans music culture; * R2: Inscription of the element on the Representative List would strengthen cultural identity and raise visibility of intangible cultural heritage, as well as encouraging and improving inter- and intra-cultural dialogue and understanding among the peoples of the region; * R3: Various safeguarding measures are foreseen, supported by the will and commitment of the community and the State to safeguard the element, including training programmes in music universities and private schools, concert programmes, as well as research and publications; * R4: The element has been nominated with the involvement of the communities, institutions and individual practitioners whose free, prior and informed consent has been given in writing; * R5: The element is registered in the National Inventory of the Intangible Cultural Heritage of Iran.

Category:

News & Politics

Tags:

• radif
• radeef
• music
• iran
• shajarian
• kiani
• ganjei
• alizadeh
• ردیف
• موسیقی
• ایران
• سنتی
• شجریان
• علیزاده
• کیانی

[filsoofimusic]

love the video! But a question from mr.Pirniakan?! has anyone seen Ali Akbar khan-e Farahani , mirza hossein gholi khan ,or Mirza Abdollah's Fingers while their playing radifs?! and Is radif only for setar & tar! How about Vocals! where there is no finger involved?!

[momostofi]

Farahani's nephew and his son Hasan Khan, were his special students, and were the ones who taught the Radifs to Mirza Abdollah and Mirza Hoseingholi, and each of the latter had a lot of students that lived in our century such as Ali Akbar Khan Shahnazi (Mirza Hosein Ghili's son), Noorali Boroomand, AliNaghi Vaziri, Darvish Khan and etc.

In this video, Pirniakan is specifically talking about Tar and Setar, which are his instruments of expertise.

[momostofi]

However, vocals have their own Radifs, and they too have specific ways of reading musical sentences in different Dastgahs. One of tte most important things about the vocal Radif, is how the Tahreers are dealt with.

[filsoofimusic]

thx Mr.Mostofi , beautiful explanation. I guess Mr.pirniakan probably was only talking about Tar& setar , But Still we have to Admit all these great students that has become wonderful musicians have their on taste in terms of using , playing and even teaching Radif... So the Radif is being played By master alizadeh or Lotfi may not exactly sound like the TAR of Mirza hosseingholi khan but they sure are aware of the old method and now they play it with their own flavore

[momostofi]

You are absolutely right! Maybe not Lotfi, but Alizadeh has his own style of fingering and Mezrab and holding the Tar, while he is definitely aware of the old style, since he has been a student to Ali Akbar Shahnazi.

However as you said, every player might have his own taste, and thats what makes the music beautiful!!

[momostofi]

Of course I dont mean that Lotfi is not an innovative player; what I mean is that as he says, he is really fund of using the Radif methods in his playing, however I have seen in some videos that he neglects them and changes sth in order to make a better sound :)

[btouri]

Thanks for sharing.

[Arash0o0o]

wow,such a nice video clip,where can we get some more info.....?does this have a part 2,3 or so !-

[seenataghavi]

heavy persian accent

but good work

[DRAGOVODA]

Persian music was and is still the most advanced from world in my oppinion.

Thank you a lot for this lesson about culture !

All the best wishes from Romania!

[goodcyrus]

Many parts of the Radif are older than the setar and tar and were played on Barbat for centuries. Pirniakan is probably referring to some tar techniques created in the past century or two for playing the radif more efficiently. As with most people whose lineage go to Mirza Hoseyn Gholi, he is very picky about practicing and technique. I find Mirza Hoseyn's lineage of students as very tough and strict people about music, whereas Mirzah Abdolah lineage more relaxed and more artsy.

[momostofi]

Thanks for your comment. Im not Mr. Pirniakan but I might be able to answer some questions, if you dont mind.

Yes, people have seen the people you named while they played the Radifs. All of these people had a lot of students, and some very special ones, which spent years and years and years learning in their classes, and therefore they saw and imitated all the techniques involved with the fingers and the Mezrab.