DEYLAMĀN, melody (gūša) incorporated into the radīf of Āvāz-e Daštī by Abu’l-Ḥasan Ṣabā (d. 1336 Š./1957), who borrowed it from the regional repertoire of northern Persia. It thus does not occur in the early radīfs of Mīrzā ʿAbd-Allāh, Mūsā Maʿrūfī, and Āqā Ḥosaynqolī but is included in that of ʿAbd-Allāh Dawāmī in the version of Maḥmūd Karīmī (Massoudieh, pp. 99-100), where it serves as the conclusion to Daštī, lasting 2 minutes and 20 seconds, before the gūša Maṯnawī. From the modal point of view, this gūša is characterized by an initial motif that begins in the upper register, on the upper seventh (C) of the concluding note (D) of Daštī, and is followed by a slow descent centered around the focal note A. This mode is particularly sweet and melancholy, especially in the version established and popularized by Ḡolām-Ḥosayn Banān.



M. T. Massoudieh (Masʿūdīya), Radif vocal de la musique iranienne, Tehran, 1357 Š./1978.

(Jean During)

Originally Published: December 15, 1995

Last Updated: November 22, 2011

This article is available in print.
Vol. VII, Fasc. 4, pp. 337-338