JAVS Summer 2021

Example 8. Showan Tavakol, Kamalto, mvt 2, mm. 15–26. Adwar rhythmic modes. The fermatas, shifting meters, and different accent groups help to imitate the traditional rhythmic modes. © 2017. Used with permission.

In creating this work, Razaz was intrigued by the concept that poetry is in many ways imbedded within Iranian music. Historically, most modes and their melodic components model the rhythmic stamp and melodic pattern of Iranian poetry. 20 Additionally, she found the story-telling, linear, singing, and improvisatory quality of Iranian music inspiring. Razaz was also interested in the concept of the dastgah system and its timbral flavor; she incorporated it into her work by using ornamental elements and improvisatory qualities in her melodies. Similar to Tavakol and Nourbakhsh, Razaz also found commonalities in sound between the viola and the Iranian kamancheh:

Song and Whispers by Gity Razaz

Gity Razaz’s (b. 1986) Song and Whispers for solo viola is based on two main ideas: a sound world created by pure atmospheric sounds, and an organic and original flavor of Iranian music. 19 This piece is through-composed with an episodic structure in which each episode builds on the previous one. However, Razaz describes the structure as not completely successive, but rather one that has episodes constantly moving back and forth and intertwining.

Example 9. Gity Razaz, Song and Whispers, mm. 5–7. Timbral effects and a melodic cell. Note the first seed of the melody appearing in m. 7, and its contrasting character compared to the timbral effects. © 2019. Used with permission.

Journal of the American Viola Society / Vol. 37, 2021 Online Issue

35