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dastgah
Dastgāh ((ペルシア語:دستگاه)) is a musical modal system in traditional Persian art music. Persian art music consists of twelve principal musical modal systems or ''dastgāhs''; in spite of 50 or more extant dastgāhs, theorists generally refer to a set of twelve principal ones. A dastgāh is a melody type on the basis of which a performer produces extemporised pieces.
== Short summary ==
Each dastgāh consists of seven basic notes, plus several variable notes used for ornamentation and modulation. Each dastgāh is a certain modal variety subject to a course of development (''sayr'') that is determined by the pre-established order of sequences, and revolves around 365 central nuclear melodies known as ''gushehs'' (each of these melodies being a ''gusheh'') which the individual musician comes to know through experience and absorption. This process of centonization is personal, and it is a tradition of great subtlety and depth. The full collection of gushehs in all dastgāhs is referred to as the ''radif''. During the meeting of ''The Inter-governmental Committee for the Safeguarding of the Intangible Heritage'' of the United Nations, held between 28 September – 2 October 2009 in Abu Dhabi, ''radifs'' were officially registered on the UNESCO List of the Intangible Cultural Heritage of Humanity.〔''The Radif of Iranian music: Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity'', (UNESCO ).〕〔''Noruz and Iranian radifs registered on UNESCO list'', Tehran Times, 1 October 2009, ().〕〔''Persian music, Nowruz make it into UN heritage list'', Press TV, 1 October 2009, ().〕〔''Nowruz became international'', in Persian, BBC Persian, Wednesday, 30 September 2009, ().〕
The dastgāh system has been a major influence in the ''maqam'' system in the Arabic music, both of which are deeply rooted in the Sassanid Persia's melodies which entered into the Islamic world following the Arab conquest of Iran in the 7th century.
The system of twelve dastgāhs and gushehs has remained nearly the same as it was codified by the music masters of the nineteenth century, in particular Mîrzā Abdollāh Farāhāni (1843–1918). No new dastgāh or large gusheh has been devised since that codification. When in the modern times an ''āvāz'' or dastgāh has been developed, it has almost always been through borrowings from the extant dastgāhs and gushehs, rather than through unqualified invention. From this remarkable stability one may infer that the system must have achieved "canonical" status in Iran.
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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