A Formal Analysis of the Poetic Structure in Gholam Hossein Banan’s Vocal Performances in Two Episodes of "Golhaye Rangarang" on Radio Iran: With a Focus on the Correspondence Between Poetic Meters and the Vocal Radifs of Askari Farahani, Karimi, and Davami
Subject Areas : Art
Zohreh Rajabi Rostamabadi
1
,
Fatemeh Gholamrezaei Kohan
2
*
,
Pouya Saraei
3
,
Sanaz Rahravi poodeh
4
1 - Ph.D. Candidate in Art Research, Department of Art, Institute of Society and Media, Isf.c., Islamic Azad University, Isfahan, Iran/ Tourism, Architecture and Urban Research Center, Isf.c., Islamic Azad University, Isfahan, Iran.
2 - Assistant Professor, Ph.D. in Persian Language and Literature, Faculty of General Education, Afzalipour Medical School, Kerman University of Medical Sciences, Kerman, Iran.
3 - Assistant Professor, Ph.D. in Art Research, Faculty of Music and Art, Tehran (Central) Branch, Islamic Azad University, Tehran, Iran.
4 - Assistant Professor, Department of Architecture, , Institute of Society and Media, Isf.c., Islamic Azad University, Isfahan, Iran Tourism, Architecture and Urban Research Center, Isf.c., Islamic Azad University, Isfahan, Iran.
Keywords: Fusion of Poetry and Music, Gholamhossein Banan, Golha-ye Rangarang Program, Persian Poetic Meter, Vocal Dastgahi Music,
Abstract :
Introduction
Poetry is the earliest form of artistic and literary expression to emerge among any nation or ethnic group. The Golha program was one of the first broadcasts aired by Radio Iran and is considered a rich repository of the fusion between poetry and music. Gholamhossein Banan began singing for the radio in 1942. This study explores how Banan’s vocal performances amplified and enriched the emotional themes of poetry within the framework of Iranian classical musical modes (dastgāh). It investigates why Banan at times deviated from the traditional structures of the Iranian radif system and how these deviations influenced the conveyance of poetic and musical meaning
To answer these questions, the authors analyze two of Banan's vocal interpretations. Following a structural analysis of the selected performances, the study examines them in terms of poetic meter, aesthetic approach, and the method of presenting dastgāhs and their constituent gushehs. The poetic meters are then compared and aligned with the vocal radifs of Asgari Farahani, Karimi, and Davami. This research adopts a qualitative content analysis approach, utilizing data gathered from library and archival sources
Methodology
This study employs a qualitative methodology, with audio content analysis as the primary approach. Data was collected through archival and library research, including note-taking from textual sources, consulting reliable online platforms related to poetry and music, gathering audio files, and using digital databases and virtual resources. The audio samples were purposefully selected from Jane Lewisohn’s Golha Project website
Discussion
The analyses conducted in this study not only examine the alignment—or lack thereof—between poetic rhythm and Iranian radif structures but also clarify the mechanisms of poetry–music fusion in Banan’s vocal performances. In the tradition of dastgāhi music, the selection of poetic meter, gusheh, and musical mode plays a crucial role in reinforcing poetic meaning and emotional expression. Banan’s interpretations stand as distinguished examples of this synthesis. The analysis reveals how music can vividly express the hidden layers of poetic meaning through its emotive power
Conclusion
With his deep knowledge of Iranian classical musical modes and his masterful vocal technique, Banan skillfully amplified the intended meaning of the poetry he performed. Through vocal ornamentation, dynamic tonal shifts, deliberate pauses, and emotionally resonant phrasing, he brought poetic messages to life in a compelling manner. While he respected many traditional radif conventions, he also exercised creative freedom when appropriate, stepping beyond rigid structures to enhance the musical and emotional depth of his performances
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