专辑简介

Polyphonic textures in unwritten musical traditions, with the mechanisms exclusive to these traditions, are not a few. However, the dominant general belief about polyphony is mostly related to its usage in the classical‌-‌scholarly western music in which the theoretical concept of polyphony is tied to the characteristics such as "pre-planning" and ‘obsessive designing of musical sounds" (usually in a written form). Given that , giving the destiny of this musical texture to the hands of improvisation, with the minimum number of pre-designed plans, is considered as a serious risk for a performance. Even in unwritten musical cultures which have different approaches to the polyphony improvisatory usage of melodic and rhythmic techniques of polyphony at the same time is exposed to risks and challenges. Taking such a risk in a live performance or a recording is probably based on a "necessity" and considerable amount of "confidence". It is based on a kind of necessity because the composer finds the substantiation of his musical ideas possible only in such specific musical situation (polyphonic improvisation). Moreover, it is based on having confidence in musical proficiency of the performers and their common understanding of a particular musical world, which provides the courage to take such a risk in both metric and non-metric parts. In the frame of this common understanding, the melodic lines repeat, simulate or even reject each other in order to fulfill the composer's musical vision. More thoroughly, the composer, if it simultaneously was possible, would probably create the mentioned similarities and contradictions in a way that these three Tars are creating. Needless to mention that the process of achieving such an understanding of a musical taste and performing it needs a great deal of musical and verbal dialogues. Dastas could be considered as an attempt to reach what has been said.

Sa'id Kordmafi

December, 2014