The Position of Maqam in Iranian Dastgah Music مقالة

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Among the concepts considered synonymous with the word "maqam" are: mayeh, mode, scale, tonality, modal system, and even dastgah. (Pourtarab, 1378:52) Thus, a scale is said to be a regular sequence of notes at one moment, a concept with which Iranian Radif music is foreign, because the main movement of gusheh occurs within the range of dangs. " (Farhat, 1380, 48) Some musicians use the words mode and mayeh to avoid the term maqam, because they consider maqam to be evocative of the musical system prior to the dastgah system. Also, in the book "A New Look at the Theory of Iranian Music," the word maqam is avoided and instead the words "mode" and "mayeh" are used. The word "mayeh" has a concept closer to "maqam" and since it is also related to the concepts of Radif music, it has wider use among musicians. (Jafarzadeh, 1372:185) 4-Melodic Pattern Sometimes a specific melodic pattern may be considered a maqam; for example, what distinguishes some of the gushehs of the Rast Panjgah dastgah from the Mahur dastgah is not the sequence of sounds and the role of emphatic notes, but rather the melodic pattern or its descending pattern. Conclusion In general, whether the word maqam is used in dastgah music or other terms, the existing gushehs in dastgahs have a range of principal notes. (Talaei, 1378) Bibliography: Pourtarab, Mostafa Kamal 1378, Music Theory, Tehran: Cheshmeh Publication Jafarzadeh, Khosrow 1372, Investigation and Critique of the Theory of Iranian Music Scales in the book "A View of Music" by Ruhollah Khalegi, Mahur Book.