Volume 13, Issue 62 (2025)
CFL 2025, 13(62): 108-156 |
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mashhadi nooshabadi M M N. The Music of Saqā'ī Elegies based on the Saqā'ī Elegies of Noushābād. CFL 2025; 13 (62) :108-156
URL: http://cfl.modares.ac.ir/article-11-64841-en.html
URL: http://cfl.modares.ac.ir/article-11-64841-en.html
Associate Professor, Department of Religions and Philosophy, Faculty of Literature, Kashan University , mmn5135@kashanu.ac.ir
Abstract: (109 Views)
Saqā'ī is an ancient ritual practiced in some Iranian cities, including Noushābād, where elegies related to the tragedy of Ashura are performed in the form of traditional Persian music. The poetry of Saqā'ī, rich in religious fervor and not lacking in literary elements, is mainly composed by poets from the late Qajar period to the contemporary era, most of whom are craftsmen and tradespeople from the Kashan region. The majority of the poems are attributed to three poets from Kashan: Farāhī, Navā’ī, and Khabbāz. The dominant poetic form is the mosammat-e morabbaʿ (a type of four-line strophic poem), followed by ghazal and tarkib-band. In this study, based on field research and examination of hand-copied booklets and notebooks, 70 frequently used poems were selected and analyzed according to their metrical structure. Among these, 32 distinct elegies were identified and transcribed musically. The findings show that most Saqā'ī elegies of Noushābād are performed in the daramad of the Dāshtī mode, followed by AbuʿAtā, Salmak-e Shur, Māhūr, Segāh, and Rāst-Panjgāh. Many of the poetic meters found in Saqā'ī poetry are the same ones recommended by master musicians of the Qajar and Pahlavi periods for Persian vocal music. The study also documents an overlooked part of Iran's musical heritage, introduces new melodies to enthusiasts, musicians, and ritual performers, and helps protect it from fading into oblivion.
Research Background
The book Traditional Mourning of the Shiites discusses the Saqā'ī tradition in Iran and the Kashan region, compiling appropriate poems for Saqā'ī ceremonies (Mo’tamedi, Vol. 1, 1999). The earliest known work that connects Persian prosody with music is Baḥr al-Alḥān, which attempts to match poetic meters with musical modes (Forsat-e Shirazi, 1966). Some scholars have studied poems selected by Iranian composers based on their metrical structure, analyzing their connection to traditional Persian music.
Khazraei’s works have particularly explored this relationship, in some of his studies such as “A Look at Poetic Meter in Several Versions of the Iranian Music Radif” (2004) and “Metric Categorization of Baḥr al-Alḥān Poems and Their Relation to the Modes and Sections of Iranian Music” (2006).
Objectives, Research Questions, and Hypotheses
The aim of this study is to identify and document the poems and forms of Saqā'ī elegies performed in Noushābād during Muharram, in the framework of Persian musical modes. Until now, Saqā'ī poetry and elegies have not been analyzed in terms of meter and music; this article is the first to address the subject.
The specific musical modes—despite their variety—correspond to particular poetic meters, creating a unique consistency in the musical structure of Noushābād’s Saqā'ī that is not found elsewhere. These tunes are part of Iran’s literary, ritual, and musical heritage, and preserving them is essential.
The main questions are: In what poetic meters and forms are the Saqā'ī elegies of Noushābād composed? Who are the poets, and in which Persian musical modes are these elegies performed?
Main Discussion
Saqā'ī poetry is specific to ritual gatherings and performed collectively. For the ease of group recitation, the poems typically use consistent, repetitive meters. The most common meter, used in ten poems, is Mostafʿelun Mostafʿelun Mostafʿelun Faʿel (in the Rajaz meter). Seven poems use the Mofāʿīlun Mofāʿīlun Mofāʿīlun Mofāʿīlun (Hazaj meter), often performed in Salmak-e Shur, Dāshtī, and Segāh. Six elegies are in Mostafʿel Mostafʿel Mostafʿel Faʿlun (Rajaz), sung in Dāshtī and Salmak-e Shur. Five poems use Fāʿelātun Fāʿelātun Fāʿelātun Fāʿelāt (Ramal), typically in Dāshtī. Another five are in Mafāʿelun Fāʿelun Mafāʿelun Fāʿelun (Mozāreʿ), sung in Rāst-Panjgāh. Four elegies use Faʿūlun Faʿūlun Faʿūlun Faʿūlun (Motaqāreb), also in Dāshtī. Three are in Mafāʿelun Mafāʿelun Mafāʿelun Mafāʿelun (Hazaj) in AbuʿAtā. Three more feature the complex rhythm Moftaʿelun Faʿ Moftaʿelun Moftaʿelun Mafʿūlun Moftaʿelun Faʿ Mostafʿel Faʿ. Some other meters appear only once or twice.
The poetic form of Saqā'ī is tailored to its ritual performance. Most of the poems (42 out of 70 selected) are composed in the mosammat-e morabbaʿ form. With a significant gap, the next most common form is the ghazal (13 poems). The main poets of Saqā'ī are known figures. Most of the elegies were composed by poets from the late Qajar, Pahlavi, and contemporary periods, primarily from Kashan and neighboring towns. Based on available biographical information, most of these poets came from working-class backgrounds with little or no direct connection to formal literary education or careers.
Conclusion
In this article, seventy Saghā’i elegies were examined across various poetic forms. The poetic meter (ʿarūḍ) of each elegy was identified, and the music accompanying these elegies—categorized into 32 distinct forms within traditional Iranian vocal modes—was documented and recorded. These poetic meters span diverse rhythmic patterns, especially the Rajaz meter, which is used in nearly half of the elegies and aligns well with the epic nature of Muharram poetry. Following Rajaz, the Hazaj and Ramal meters are most commonly used, with Motaqārib and the less frequent Modāreʿ meters following.
Most of the Saghā’i elegies are performed in the Dashti mode (46 instances), a musical system known for its melancholic quality while also being suitable for epic themes. Other modes used include Salmak-e Shur (16 instances), Rāst Panjgāh (8), Māhur (3), and Segāh and Bayāt-e Esfahān (1 each).
The composers of Saghā’i poems and elegies primarily come from the middle and lower social classes and were often craftsmen or local residents of the Kashan region during the Qajar and Pahlavi periods. In many cases, the poets themselves were founders or sponsors of Saghā’i gatherings and composed poetry tailored to the musical needs of those rituals. Although most Saghākhwāns (elegy reciters) lack formal musical education, they have preserved this musical tradition orally as a part of Iran's intangible cultural heritage.
In essence, Saghā’i poetry and its elegies represent a gift from the common people to the broader landscape of Persian poetry and music. By comparing the collected Saghā’i elegies of Noushābād with those from other ritual groups across towns and villages, it becomes clear that many traditional Iranian musical motifs are embedded within local mourning traditions—worthy of further investigation by folklorists and musicologists.
Research Background
The book Traditional Mourning of the Shiites discusses the Saqā'ī tradition in Iran and the Kashan region, compiling appropriate poems for Saqā'ī ceremonies (Mo’tamedi, Vol. 1, 1999). The earliest known work that connects Persian prosody with music is Baḥr al-Alḥān, which attempts to match poetic meters with musical modes (Forsat-e Shirazi, 1966). Some scholars have studied poems selected by Iranian composers based on their metrical structure, analyzing their connection to traditional Persian music.
Khazraei’s works have particularly explored this relationship, in some of his studies such as “A Look at Poetic Meter in Several Versions of the Iranian Music Radif” (2004) and “Metric Categorization of Baḥr al-Alḥān Poems and Their Relation to the Modes and Sections of Iranian Music” (2006).
Objectives, Research Questions, and Hypotheses
The aim of this study is to identify and document the poems and forms of Saqā'ī elegies performed in Noushābād during Muharram, in the framework of Persian musical modes. Until now, Saqā'ī poetry and elegies have not been analyzed in terms of meter and music; this article is the first to address the subject.
The specific musical modes—despite their variety—correspond to particular poetic meters, creating a unique consistency in the musical structure of Noushābād’s Saqā'ī that is not found elsewhere. These tunes are part of Iran’s literary, ritual, and musical heritage, and preserving them is essential.
The main questions are: In what poetic meters and forms are the Saqā'ī elegies of Noushābād composed? Who are the poets, and in which Persian musical modes are these elegies performed?
Main Discussion
Saqā'ī poetry is specific to ritual gatherings and performed collectively. For the ease of group recitation, the poems typically use consistent, repetitive meters. The most common meter, used in ten poems, is Mostafʿelun Mostafʿelun Mostafʿelun Faʿel (in the Rajaz meter). Seven poems use the Mofāʿīlun Mofāʿīlun Mofāʿīlun Mofāʿīlun (Hazaj meter), often performed in Salmak-e Shur, Dāshtī, and Segāh. Six elegies are in Mostafʿel Mostafʿel Mostafʿel Faʿlun (Rajaz), sung in Dāshtī and Salmak-e Shur. Five poems use Fāʿelātun Fāʿelātun Fāʿelātun Fāʿelāt (Ramal), typically in Dāshtī. Another five are in Mafāʿelun Fāʿelun Mafāʿelun Fāʿelun (Mozāreʿ), sung in Rāst-Panjgāh. Four elegies use Faʿūlun Faʿūlun Faʿūlun Faʿūlun (Motaqāreb), also in Dāshtī. Three are in Mafāʿelun Mafāʿelun Mafāʿelun Mafāʿelun (Hazaj) in AbuʿAtā. Three more feature the complex rhythm Moftaʿelun Faʿ Moftaʿelun Moftaʿelun Mafʿūlun Moftaʿelun Faʿ Mostafʿel Faʿ. Some other meters appear only once or twice.
The poetic form of Saqā'ī is tailored to its ritual performance. Most of the poems (42 out of 70 selected) are composed in the mosammat-e morabbaʿ form. With a significant gap, the next most common form is the ghazal (13 poems). The main poets of Saqā'ī are known figures. Most of the elegies were composed by poets from the late Qajar, Pahlavi, and contemporary periods, primarily from Kashan and neighboring towns. Based on available biographical information, most of these poets came from working-class backgrounds with little or no direct connection to formal literary education or careers.
Conclusion
In this article, seventy Saghā’i elegies were examined across various poetic forms. The poetic meter (ʿarūḍ) of each elegy was identified, and the music accompanying these elegies—categorized into 32 distinct forms within traditional Iranian vocal modes—was documented and recorded. These poetic meters span diverse rhythmic patterns, especially the Rajaz meter, which is used in nearly half of the elegies and aligns well with the epic nature of Muharram poetry. Following Rajaz, the Hazaj and Ramal meters are most commonly used, with Motaqārib and the less frequent Modāreʿ meters following.
Most of the Saghā’i elegies are performed in the Dashti mode (46 instances), a musical system known for its melancholic quality while also being suitable for epic themes. Other modes used include Salmak-e Shur (16 instances), Rāst Panjgāh (8), Māhur (3), and Segāh and Bayāt-e Esfahān (1 each).
The composers of Saghā’i poems and elegies primarily come from the middle and lower social classes and were often craftsmen or local residents of the Kashan region during the Qajar and Pahlavi periods. In many cases, the poets themselves were founders or sponsors of Saghā’i gatherings and composed poetry tailored to the musical needs of those rituals. Although most Saghākhwāns (elegy reciters) lack formal musical education, they have preserved this musical tradition orally as a part of Iran's intangible cultural heritage.
In essence, Saghā’i poetry and its elegies represent a gift from the common people to the broader landscape of Persian poetry and music. By comparing the collected Saghā’i elegies of Noushābād with those from other ritual groups across towns and villages, it becomes clear that many traditional Iranian musical motifs are embedded within local mourning traditions—worthy of further investigation by folklorists and musicologists.
Article Type: پژوهشی اصیل |
Subject:
Folklore
Received: 2022/10/16 | Accepted: 2025/04/5 | Published: 2025/05/31
Received: 2022/10/16 | Accepted: 2025/04/5 | Published: 2025/05/31
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