Tasnif

For the first time, the theory of tasnif is mentioned in the writings of Abal-Kadir Maraghi in the 15th century, but until the end of the 19th century few people took the tasnif genre seriously, preferring classical Avaz or Radif .

Vocal singing in the period of the late Qajars (1875-1925), as a rule, was divided into several categories: religious, folk, urban, aristocratic and political. In addition to the tasnif, there was also a ruin (Persian. سرود - anthem), a religious song and a battering ram (Persian. ترانه - folk song). The word “tasnif” began to denote the genre of the author's song associated with classical music - it was popular in certain poetic and aristocratic circles. The musical heritage of classical tasnif was greatly expanded by composers Mortaza Neydavud and Mohammad Ali-Amir Jahed.

The composers of the late Qajar period combine traditional forms with significant stylistic and thematic changes in their tasnifs. One of the features of the 19th century Persian poetry was a significant simplification of the Persian language to appeal to a mass audience, and not just to aristocracy and power. Composers such as Akbar Sheyda and Abu'l-Qasem Aref used a new line of poetry, and this brought new listeners to their music.

During the period of the Constitutional Revolution in Iran (1905–1911), tasnif and ramming played an important role in the process of political struggle ^[2] . Many poets of this period wrote both in ordinary poetic forms, such as ghazal , and in free: they created lyrics. They published texts of tasniphs and societies in magazines and on separate leaflets and distributed them in the hope that there would be musicians among the readers. Tasnif was performed in revolutionary societies and in informal meetings in concert halls in major cities.

In the 1970s, the tasnif was revived as a genre: a huge number of musicians made considerable efforts to find old masters and take lessons from them in their skills. Classical tasnif remains an important genre of classical Persian music.

For tesnif, melodic stability, rhythmic certainty, completeness of form, lyrical, and sometimes moving character are characteristic. ^[3] Classical tasnif is a song composed in the melodic type of gush (pers. گوشه) of the dastag module (pers. دتگاه) on love themes. Such tasnif uses classical poetic meters and forms, for example, meters and forms of ghazals , rubay or mosammat, and includes a periodic chorus that rhythmically differs from the verse. A poetic text can have sectional divisions determined by syllable length, rhymes and metric schemes.

The press may also be fulfilled at the beginning of the game as an introduction. Each tesniff belongs to a specific section of the dastgah, and the name of the tesnif is associated with the name and musical character of this section.

Tasnif can be executed outside the dastgah format. The choice of a particular tasnif and style of performance depends on what the musician specializes in - tasnif or avaz. The traditional distinction between tasnif and avaz performers is that the avaz performer is able to sing the tahrir (Persian تحریر), and the tasnif performer has a strong developed sense of rhythm and, as a rule, plays the tombac (an Iranian drum of a cup-shaped form).

Among the singers of the khanende is also widespread the independent performance of tesnifs. In this case, a small fragment of mugham is used in the beginning or middle section of the tesnif, and often in such a tesnif the features of not only a mugam section, but of the whole mugham are combined.

The gazelles make up the poetic basis; goshma , bayati , geraily, and other forms of lyric poetry are also used. ^[3]

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