[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/dastgah-e-sur-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki24\/dastgah-e-sur-wikipedia\/","headline":"Dastg\u0101h-e \u0160ur – Wikipedia","name":"Dastg\u0101h-e \u0160ur – Wikipedia","description":"before-content-x4 From Wikipedia, the free encyclopedia after-content-x4 Dastg\u0101h-e \u0160ur (Persian: \u062f\u0633\u062a\u06af\u0627\u0647 \u0634\u0648\u0631; Azerbaijani: \u015eur) is one of the seven Dastg\u0101hs","datePublished":"2014-12-05","dateModified":"2014-12-05","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki24\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/5\/52\/Shur_1_.png\/340px-Shur_1_.png","url":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/5\/52\/Shur_1_.png\/340px-Shur_1_.png","height":"88","width":"340"},"url":"https:\/\/wiki.edu.vn\/en\/wiki24\/dastgah-e-sur-wikipedia\/","about":["Wiki"],"wordCount":2833,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4From Wikipedia, the free encyclopedia       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Dastg\u0101h-e \u0160ur (Persian: \u062f\u0633\u062a\u06af\u0627\u0647 \u0634\u0648\u0631; Azerbaijani: \u015eur) is one of the seven Dastg\u0101hs of Persian Music (Classically, Persian Music is organized into seven Dastg\u0101hs and five \u0100v\u0101zes, however from a merely technical point of view, one can consider them as an ensemble of 12 Dastg\u0101hs).       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Table of ContentsIntroduction[edit]Dar\u0101mad[edit]See also[edit]References[edit]Introduction[edit]\u0160ur is in some respects the most important of the Dastg\u0101hs. It contains a large body of pieces, and in its domain belong four important \u0100v\u0101zes: Da\u0161ti, Abuat\u0101, Bay\u0101t-e Tork and  Af\u0161\u0101ri. A great many folk tunes, from different parts of Persia, are founded on the modal schemes of \u0160ur or its derivative Dastg\u0101hs and Gu\u0161es.The melodic formation in \u0160ur is conceived within the modal structure shown below for \u0160ur D\u00a0:The characteristics of this mode are:The tetrachord above the finalis (marked with “F”) is the focal point of melodic activity.The finalis is the most emphasized tone.The 4th above is the minimal high point in the mode, and has considerable prominence.The 2nd and particularly the 3rd above the finalis are also heard frequently.The 5th above (marked with “M”) is a Moteqayyer (meaning variable in Persian). When the melodic line is descending, it is usually lowered by a micro tone from a to a  (a koron). This lowering is responsible for the creation of a sense of finalis for the 4th above, since by lowering the a\u266e to a , the original tetrachord is recreated from g.The 6th above has no significant role except as a note of resolution for the 5th when used ascendingly (a\u266e). The 7th above can be, and frequently is, entirely omitted.The 2nd below (marked with “\u0100”) has considerable importance both as a frequent note of \u0100q\u0101z (meaning beginning in Persian) and in cadences, where one of the most common cadential patterns involves a progression from the 2nd below to the finalis.The 3rd below is also used frequently in cadences. In such situations it is used ascendingly, resolving to the 2nd below and then to the finalis. Here, the 3rd below is higher than its octave (6th above) by a micro tone, b instead of b\u266d.In every Dastg\u0101h the Forud assumes a very significant role as a unifying agent which binds together the various Gu\u0161es in that Dastg\u0101h. In most Dastg\u0101hs, more than one Forud pattern is used. In a \u0160ur Forud, the finalis may be approached by way of a) the 2nd below, b) the 3rd and 2nd below, c) the 2nd above, or d) the 4th above. What precedes these approaches can be brief or extensive depending on the extent of Forud improvisation. The following scores, give an average length for each of these Forud types in \u0160ur D:       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4(a) (listen\u00a0(help\u00b7info))(b) (listen\u00a0(help\u00b7info))(c) (listen\u00a0(help\u00b7info))(d) (listen\u00a0(help\u00b7info))Dar\u0101mad[edit]The melodic movement of \u0160ur, as of all Dastg\u0101hs and Gu\u0161es, is overwhelmingly diatonic. No leaps larger than a perfect 4th are made. Most leaps of 4ths actually occur between the end of one phrase and the beginning of another. In other situations, an upward leap of a 4th is relatively common, from the 2nd below to the 3rd above the finalis, at the beginning of a phrase. An upward and then downward leap of a 4th is common in the Forud d as shown above. This type of ending is also used in a number of other Dastg\u0101hs (e.g. Hom\u0101yun and Nav\u0101). The very final portion of this Forud, which involves the leap of a 4th down, is known as B\u0101l-e Kabutar (meaning pigeon’s wing in Persian) (see the score below).Leaps of 3rds between the notes of the main tetrachord are used sparingly, generally in sequential and ornamental passages, as shown in the following score in \u0160ur D\u00a0:(listen\u00a0(help\u00b7info))To illustrate the melodic character of \u0160ur, as represented by the Dar\u0101mad, two different formulae for Dar\u0101mads of \u0160ur are transcribed in the following scores in \u0160ur D\u00a0:(a) (listen\u00a0(help\u00b7info))(b) (listen\u00a0(help\u00b7info))These formulae, as the basis for improvisation, have been arrived at after analysis of numerous improvisations in Dastg\u0101h-e \u0160ur. After the Dar\u0101mad section, those Gu\u0161es which are part of the organisation of Dastg\u0101h-e \u0160ur are performed. A complete Radif, such as that of Mus\u0101 Ma’rufi contains much redundancy and several short and insignificant pieces. The present study has been concerned with larger and more singular pieces, most of which would be included in a normal but extended performance of \u0160ur.The main Gu\u0161es of Dastg\u0101h-e \u0160ur are the following: Salmak, Moll\u0101 N\u0101zi, Golriz, Bozorg, X\u0101r\u0101, Qajar, Ozz\u0101l, \u0160ahn\u0101z, Qara\u010de, Hoseyni, Bay\u0101t-e Kord and Gereyli. They may be performed in that order, but the order is by no means fixed. In a given performance of Dastg\u0101h-e \u0160ur some of the Gu\u0161es may be left out altogether, and the order of those included may also vary. This observation will hold true in all of the Dastg\u0101hs. The order in which the Gu\u0161es are listed and described represents, at best, the most common arrangement of the most noteworthy pieces in each Dastg\u0101h.See also[edit]References[edit]       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/dastgah-e-sur-wikipedia\/#breadcrumbitem","name":"Dastg\u0101h-e \u0160ur – Wikipedia"}}]}]