Ali-Naqi Vaziri (Persian: علی نقی وزیری; October 1, 1886[1] in Tehran – September 9, 1979) was a composer, thinker and a celebrated player of the tar. He is considered a revolutionary icon in the history of 20th-century Persian music. His name was also transcribed as Ali Naghi Vaziri.
Ali-Naqi Vaziri was born in October 1, 1886, in Tehran, Qajar Iran.[1] He was one of the seven children of Musa Khan Vaziri (a prominent official in the Persian Cossack Brigade) and Bibi Khanoom Astarabadi, a notable Iranian writer, satirist and one of the pioneering figures in the women's movement of Iran; her book Ma'ayeb al-Rejal (Failings of Men, also translated as Vices of Men) is considered by some as the first declaration of women's rights in the modern history of Iran. The celebrated painter Hassan Ali Khan Vaziri was his brother.
Ali-Naqi Vaziri was a master of Persian classical music, so he was able to play the tar in a style very reminiscent of that of Mirza Abdollah. He always looked for new dimensions and perspectives in musical expression, and by doing so he revolutionized the style of playing the tar.
Vaziri for years was the director of the Tehran Conservatory of Music and a professor at the University of Tehran.
Innovations
Vaziri was one the first Persian musicians in the 20th century to go to Europe to study music, and after his return to Tehran in 1924.
He was for a long time the only traditional instrumentalist familiar with and promoted the theory of Western classical music.[3]
He wrote the first transcription of Iranian music using European staff notation in his lute instruction book Dastur-e Tar, published in Iran (1913) and Germany (1923). It contained material from the Iranian oral classical canon (known as the radif), as well as arrangements inspired by composers like Beethoven, Rossini, and Schubert.[4]
Vaziri was the first to introduce and promote equal moderation in classical Persian music; in this way, each octave was evenly divided into 24 notes. This method made it possible to use Western system to harmonise traditional Persian melodies.[5] His experiments with musical scale was work in the direction of blending Western polyphony into Persian music.[6]
His creation of the 24 step scale was created "with the intention of accommodating the application of Western harmony to musical compositions within Persian modes."[6] He first described this view briefly in The Grammar and then in more detail in Theoretical Music.[6]
He invented a new Persian music notation for accidentals, calling the additions sori and koron; the first raises the bottom of a note by a quarter of a step and the second lowers it by a quarter of a step.[7] Vaziri's theory for classical Persian music was heavily rejected since the 1960s.
^Maryam Pirnazar (July 16, 2013). "Reza Vali: An Iranian Composer to Watch and - of course - to Hear". payvand.com. For transcription of the micro-tones, I use the standard notation of the micro-tones, the Sori and the Koron, which were developed during early 20th century by the Persian master Alinaghi Vaziri.
^Farhat, Hormoz (2004). The Dastgah Concept in Persian Music. Cambridge, Massachusetts: Cambridge University Press. ISBN978-0-521-54206-7.
^ abc"VAZIRI, ʿAli-Naqi". Encyclopedia Iranica. In a brief chapter on theory, in his first published book, Dastur-e tār, and more extensively in Musiqi-e naẓari, he sets forth the proposition that all the modes of traditional music can be conceived within an octave scale of twenty-four equidistant (tempered) quarter-tones...
^کمال پورتراب translation:Kamal Portrab, Mostafa. نگاهی نو به تئوری موسیقی ایرانی کلنل علینقی وزیری [translation:Theory of Iranian music by Colonel Alinaghi Vaziri]. Tehran: Nay and Ney Publishing.
^خالقی، روحالله [translation: Khaleqi, Ruhollah] (2016). سرگذشت موسیقی ایران [translation: The story of Iranian music]. Tehran: Mahour.
Khaleghi, R., Sargozasht e Musighi e Iran, Ferdowsi Publication, 1955, (in Persian)
Ella Zonis, Contemporary Art Music in Persia, The Musical Quarterly, Vol. 51, No. 4, pp. 636–648 (1965). JSTOR
Hormoz Farhat, The Dastgāh Concept in Persian Music (Cambridge University Press, 1990). ISBN0-521-30542-X, ISBN0-521-54206-5 (first paperback edition, 2004). For a review of this book see: Stephen Blum, Ethnomusicology, Vol. 36, No. 3, Special Issue: Music and the Public Interest, pp. 422–425 (1992). JSTOR
Laudan Nooshin, in The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, second edition (Macmillan, London, 2001). ISBN1-56159-239-0. (Oxford University Press, 2001). ISBN0-19-517067-9.
