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・ Dastgerd-e Emamzadeh
・ Dastgerd-e Mar
・ Dastgerd-e Mehr Avaran
・ Dastgerd-e Nagerd
・ Dastgerdan
・ Dastgerdan District
・ Dastgerdan Rural District
・ Dastgerdan, Razavi Khorasan
・ Dastgerdan, South Khorasan
・ Dastgerdi
・ Dastgerdu
・ Dastgir
・ Dastgir, Iran
・ Dastgird
・ Dastgāh-e Māhur
Dastgāh-e Šur
・ Dasti
・ Dastikoppa
・ Dastilbe
・ Dastira
・ Dastja
・ Dastjan
・ Dastjerd
・ Dastjerd Rural District
・ Dastjerd Rural District (East Azerbaijan Province)
・ Dastjerd Rural District (Qazvin Province)
・ Dastjerd Rural District (Qom Province)
・ Dastjerd, Ardestan
・ Dastjerd, Azarshahr
・ Dastjerd, Bahar


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Dastgāh-e Šur : ウィキペディア英語版
Dastgāh-e Šur
Dastgāh-e Šur ((ペルシア語:دستگاه شور)) is one of the seven ''Dastgāh''s of Persian Music (Classically, Persian Music is organized into seven ''Dastgāhs'' and five ''Āvāz''es, however from a merely technical point of view, one can consider them as an ensemble of 12 ''Dastgāh''s).
==Introduction==
''Šur'' is in some respects the most important of the ''Dastgāh''s. It contains a large body of pieces, and in its domain belong four important ''Āvāz''es: ''Dašti'', ''Abuatā'', ''Bayāt-e Tork'' and ''Afšāri''. A great many folk tunes, from different parts of Persia, are founded on the modal schemes of ''Šur'' or its derivative ''Dastgāh''s and ''Guše''s.
The melodic formation in ''Šur'' is conceived within the modal structure shown below for ''Šur D'' :
::
The characteristics of this mode are:
# The tetrachord above the finalis 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 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 . This lowering is responsible for the creation of a sense of finalis for the 4th above, since by lowering the a 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). The 7th above can be, and frequently is, entirely omitted.
# The 2nd below has considerable importance both as a frequent note of ''Āqāz'' (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.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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