The persian tahrir as glottal technique and melismatic form
Résumé
The tahrir (and its equivalent azeri zəngulə) is a melismatic form which uses a vocal technique of rapid succession of glottal strokes over a series of notes. Several articles (1974, 2016, 2019) have highlighted this effect at the level of its acoustic spectrum, but the most in-depth studies (2020) were carried out in a French laboratory, using an electro-glotto-graphic device, with the collaboration of the famous singer Mohammad-Rezâ Shajarian (d.2020). In addition to this scientific approach, the article questions the often ambiguous and vague uses of the terms tahrir, ghalt, tekye, and yodel, and proposes precise definitions based on the explanations of singing masters. These definitions are informed by the literal etymological meaning of the terms mentioned. At a musical level, the article also defines the place of tahrir in the vocal art as a melisma governed by subtle rules and aesthetic choices. It appears that the tahrir (and probably the zəngulə), is not only a decorative element appearing spontaneously in phases of expressive climax; it is an essential component of ghazal singing in all its registers, and is part of the very composition of each âvâz and gushe. This is why the tahrir formulas are also adapted to the instrumental playing of the canonical repertoire (radif), and are memorised note by note, as in singing.
Origine : Fichiers produits par l'(les) auteur(s)
Licence : CC BY - Paternité
Licence : CC BY - Paternité