Kurdish Music ----> Someone please explain.

[AlbaSaab]

I have listened and listened to Kurdish music, (my friend plays it, and I listen also), but for the life of me, I can't understand the scale, or whatever it is, that it's played in. It sounds like a cacophony!!! Then, all of a sudden, it jumps to a key that seems to have appeared from outer space. Can anyone shed any light on how Kurdish music came to sound like that?

[Diri]

Here is an article I found on Kurdish music:


Kurdish Music
By Christian Poche
Kurdish music belongs to the same family as Persian music, but its main characteristic, as in Indian music, is the exploration of the octave. the basic structure is a model development in which the elements are elaborated and organized by improvisation in such a way as always to result in a melodic rhythmic conclusion. In the musical construction the improvisation at the outset is balanced by means of a measured concluding part. Kurdish music is neither learned music nor folk music, but all in one. Like Persian music, it is passionate, sensuous music, very often tinged with a profound melancholy. Although close to each other, these two worlds are very different and cannot be confused when heard, Persian music being more refined and that of the Kurds being more instinctive and more impulsive.

At first sight, the way the Kurdish musician considers his art may appear disconcerting to a westerner, for there exists no terminology indispensable in defining the phenomenon of sound. There are no precise terms relating to the art of making music; the rules, the forms, and the musical scales are in the Kurdish language all associated with concrete phenomena. the basic notation are expressed by simple terms taken from daily life and generalized. In Kurdish the word "music" is conveyed by the term "saz", a word of Persian origin which signifies both music and any musical instrument or a particular musical instrument. Another term employed in the same way is "tanbur," which likewise designates music and particular stringed instrument. This term has long been the subject of a sharp controversy: is the origin of the long-necked lute found in India and attested in ninth-century Poland by Arabic writers to be sought in Sanskrit and does it mean the instrument which gives the "tone?" Does it come from Sumer, as some authorities maintain? Or is it a legacy of the Scytho-Sarmatians and thus of the Caucasian civiliz ation?

When a Kurdish musician talks about music he never refers to concept with which we are familiar on account of formal or expressive connotations. To convey the idea of improvisation he uses a term which means "work", in the sense of "working" an instrument. A musician gifted with great inspiration is spoken of as one who knows what he has to do, a difficulty in execution is interpreted in terms of a mountain that has to be crossed. The construction of musical form can be presented as the healing of a wound, an idea that reminiscent of the thesis put forward by Rymond Ruyter in his book "La genése des formes vivantes". To denote a particular mode of maqam -the Kurds say maqãmé- also called maghmä, proper names, such as women's names, and names of religions and tribes are used. "Dersem", for instance, which is a Kurdish dance, takes its name from a region in Anatolia, an d "Sheikhane," another well-known dance, comes from the region of Djebel Sindjiar in northern Iraq. When a magam is designated by a girl's name, for example magämé Mariamé, it is understood that the remembrance of the young Mariamé has given rise to a particular melodic motif to which a modal ethos is applied. It could thus be inferred that Kurdish music, like Indian or Arabian music, utilizes an infinite numbers of modes (raga or magam). But this is not so. In fact, the musical art of the Kurds is based solely on the use of one single mode, and this bears witness to the antiquity of the culture which has developed its tradition by preserving a single scale, which the neighboring people call "kord" or Kurd (its characteristic being a minor second followed by a major second) and is none other than the Dorian mode employed by the Flamenco musicians of Spain. Are the Ku rds aware of this scale? In terms of music itself there is no doubt that they are, for if the musician deviates from the degrees prescribed for the mode and determined by the fourteen frets on the tanbura, they will notice immediately that this represent a departure from their tradition. But they have never called this scale Kord. On the contrary, they have always associated it with the spirit of an ethos. To say that a Kurd is improvising the magämé Kord in the same way that one would say that a Persian is developing Shur or that an Indian is unfolding Bhairavi, is a nonsense. One would have to be more precise and say the magämé Abdalé or magämé Mariamé, because it is the structure of the Abdalé or Mariamé song which displays the Kurd scale.

http://www.kdp.pp.se/music


Hope that explains it to you...

[AlbaSaab]

Here is an article I found on Kurdish music:


Kurdish Music
By Christian Poche
Kurdish music belongs to the same family as Persian music, but its main characteristic, as in Indian music, is the exploration of the octave. the basic structure is a model development in which the elements are elaborated and organized by improvisation in such a way as always to result in a melodic rhythmic conclusion. In the musical construction the improvisation at the outset is balanced by means of a measured concluding part. Kurdish music is neither learned music nor folk music, but all in one. Like Persian music, it is passionate, sensuous music, very often tinged with a profound melancholy. Although close to each other, these two worlds are very different and cannot be confused when heard, Persian music being more refined and that of the Kurds being more instinctive and more impulsive.

At first sight, the way the Kurdish musician considers his art may appear disconcerting to a westerner, for there exists no terminology indispensable in defining the phenomenon of sound. There are no precise terms relating to the art of making music; the rules, the forms, and the musical scales are in the Kurdish language all associated with concrete phenomena. the basic notation are expressed by simple terms taken from daily life and generalized. In Kurdish the word "music" is conveyed by the term "saz", a word of Persian origin which signifies both music and any musical instrument or a particular musical instrument. Another term employed in the same way is "tanbur," which likewise designates music and particular stringed instrument. This term has long been the subject of a sharp controversy: is the origin of the long-necked lute found in India and attested in ninth-century Poland by Arabic writers to be sought in Sanskrit and does it mean the instrument which gives the "tone?" Does it come from Sumer, as some authorities maintain? Or is it a legacy of the Scytho-Sarmatians and thus of the Caucasian civiliz ation?

When a Kurdish musician talks about music he never refers to concept with which we are familiar on account of formal or expressive connotations. To convey the idea of improvisation he uses a term which means "work", in the sense of "working" an instrument. A musician gifted with great inspiration is spoken of as one who knows what he has to do, a difficulty in execution is interpreted in terms of a mountain that has to be crossed. The construction of musical form can be presented as the healing of a wound, an idea that reminiscent of the thesis put forward by Rymond Ruyter in his book "La genése des formes vivantes". To denote a particular mode of maqam -the Kurds say maqãmé- also called maghmä, proper names, such as women's names, and names of religions and tribes are used. "Dersem", for instance, which is a Kurdish dance, takes its name from a region in Anatolia, an d "Sheikhane," another well-known dance, comes from the region of Djebel Sindjiar in northern Iraq. When a magam is designated by a girl's name, for example magämé Mariamé, it is understood that the remembrance of the young Mariamé has given rise to a particular melodic motif to which a modal ethos is applied. It could thus be inferred that Kurdish music, like Indian or Arabian music, utilizes an infinite numbers of modes (raga or magam). But this is not so. In fact, the musical art of the Kurds is based solely on the use of one single mode, and this bears witness to the antiquity of the culture which has developed its tradition by preserving a single scale, which the neighboring people call "kord" or Kurd (its characteristic being a minor second followed by a major second) and is none other than the Dorian mode employed by the Flamenco musicians of Spain. Are the Ku rds aware of this scale? In terms of music itself there is no doubt that they are, for if the musician deviates from the degrees prescribed for the mode and determined by the fourteen frets on the tanbura, they will notice immediately that this represent a departure from their tradition. But they have never called this scale Kord. On the contrary, they have always associated it with the spirit of an ethos. To say that a Kurd is improvising the magämé Kord in the same way that one would say that a Persian is developing Shur or that an Indian is unfolding Bhairavi, is a nonsense. One would have to be more precise and say the magämé Abdalé or magämé Mariamé, because it is the structure of the Abdalé or Mariamé song which displays the Kurd scale.

http://www.kdp.pp.se/music


Hope that explains it to you...

No, as I alreay looked that up!! Ha ha!!

[Diri]

Let me explain it in simple words:

Kurdish music comes from the heart... Not from notes...

[AlbaSaab]

Let me explain it in simple words:

Kurdish music comes from the heart... Not from notes...

Ok, but how does that explain the dances to go with the music. The dances are learned, presumably to pieces of music, which must have some structure to them. Which brings me nicely to another point: Kurdish dancing is the weirdest I've ever seen, and for that I love it! Oooops! Nearly forgot Scottish dancing.... Now, THAT's weird!

I have found there to be many similarities between the two cultures of Celtic and Kurdish. For instance: The way both cultures never wrote down their songs, stories, and folklore etc. The fact that both had Clans and Clan chiefs. The pride in their nations; the oppression from others; the fighting spirit that will never be defeated!!!!! Even now, there is still hatred between England and Scotland!!

[AlbaSaab]

Let me explain it in simple words:

Kurdish music comes from the heart... Not from notes...

Can you explain to me how to change my profile please. Thank you.

[Diri]

Let me explain it in simple words:

Kurdish music comes from the heart... Not from notes...

Ok, but how does that explain the dances to go with the music. The dances are learned, presumably to pieces of music, which must have some structure to them. Which brings me nicely to another point: Kurdish dancing is the weirdest I've ever seen, and for that I love it! Oooops! Nearly forgot Scottish dancing.... Now, THAT's weird!

I have found there to be many similarities between the two cultures of Celtic and Kurdish. For instance: The way both cultures never wrote down their songs, stories, and folklore etc. The fact that both had Clans and Clan chiefs. The pride in their nations; the oppression from others; the fighting spirit that will never be defeated!!!!! Even now, there is still hatred between England and Scotland!!

Some very interesting similarities!

About Kurdish dancing music:

The most important thing in most near eastern music: rythem...

The melody comes second...

However, that is only some of Kurdish music. Because Kurdish music is not just one style... There are many different styles...

There are distinct styles and each region has it's own peculiarities and specialty...

Revan/Erivan: Capital of todays Armenia has given name to this style. The songs are usually accompanied by a Zurna, Ney, Tenbûr or other instrument. The songs are melancholic and sing of love for Kurdistan and lost love. Usually not so structured... More spontaneous and free...

Was unable to find a sample...

Heyrans: Romantic poems dedicated to girls and boys. Lovesongs... Can be both structured and not...

Chopî - Don't know the name of the song... (excuse the bad video-quality)
http://www.youtube.com/watch?v=mmWLgritQz4

Chopî - Dayê
http://www.youtube.com/watch?v=PsbSItszYjk


A style from Kirmashan is very popular - it's core is captured by the Kamkaran:

Kamkaran - "Ciwane"
http://www.youtube.com/watch?v=h65hk8eIV70

As you see, this music is very structured...

Then there is a northern Kurdish style - very much based on rythem and percussions:

Kardes Turkuler - "Mîrkut"
http://www.youtube.com/watch?v=oJON5j0fvhc

This style for some reason also reminds me of the Sufi Kurdish style - which is very lively and rythmic... Too bad I don't have any examples to show you...

Anyway - hope you get my point... There are many styles of Kurdish music...

And the ones I've presented are far from the only ones...

[AlbaSaab]

Let me explain it in simple words:

Kurdish music comes from the heart... Not from notes...

Ok, but how does that explain the dances to go with the music. The dances are learned, presumably to pieces of music, which must have some structure to them. Which brings me nicely to another point: Kurdish dancing is the weirdest I've ever seen, and for that I love it! Oooops! Nearly forgot Scottish dancing.... Now, THAT's weird!

I have found there to be many similarities between the two cultures of Celtic and Kurdish. For instance: The way both cultures never wrote down their songs, stories, and folklore etc. The fact that both had Clans and Clan chiefs. The pride in their nations; the oppression from others; the fighting spirit that will never be defeated!!!!! Even now, there is still hatred between England and Scotland!!

Some very interesting similarities!

About Kurdish dancing music:

The most important thing in most near eastern music: rythem...

The melody comes second...

However, that is only some of Kurdish music. Because Kurdish music is not just one style... There are many different styles...

There are distinct styles and each region has it's own peculiarities and specialty...

Revan/Erivan: Capital of todays Armenia has given name to this style. The songs are usually accompanied by a Zurna, Ney, Tenbûr or other instrument. The songs are melancholic and sing of love for Kurdistan and lost love. Usually not so structured... More spontaneous and free...

Was unable to find a sample...

Heyrans: Romantic poems dedicated to girls and boys. Lovesongs... Can be both structured and not...

Chopî - Don't know the name of the song... (excuse the bad video-quality)
http://www.youtube.com/watch?v=mmWLgritQz4

Chopî - Dayê
http://www.youtube.com/watch?v=PsbSItszYjk


A style from Kirmashan is very popular - it's core is captured by the Kamkaran:

Kamkaran - "Ciwane"
http://www.youtube.com/watch?v=h65hk8eIV70

As you see, this music is very structured...

Then there is a northern Kurdish style - very much based on rythem and percussions:

Kardes Turkuler - "Mîrkut"
http://www.youtube.com/watch?v=oJON5j0fvhc

This style for some reason also reminds me of the Sufi Kurdish style - which is very lively and rythmic... Too bad I don't have any examples to show you...

Anyway - hope you get my point... There are many styles of Kurdish music...

And the ones I've presented are far from the only ones...

I listen to a lot of world music, and I can honestly say that I haven't heard anything like "most" of the Kurdish music, although I am familiar with Sufi to a degree, as I like "Mercan Dede", and I love that last track you posted; that's more my cup of tea, but seeing as I'm not too keen on tea, it'll have to be diet coke/pepsi, lol.