ترانویسی تصنیفی نغمه‌نگاری‌شده به شیوۀ تلفیقی (ابجدی-نقطه‌ای) از مهدی‌قلی هدایت (مخبرالسّلطنه)، با نگاهی به فواصل پیشنهادی منتظم‌الحکماء

نگارنده در این مقاله درنظر دارد که پس از بررسی جزئیات روش نغمه‌نگاری تلفیقی مهدی‌قلی هدایت، که در پیوستی با عنوان دستور ابجدی در انتهای کتاب مجمع‌الادوار شرح داده شده است، تنها تصنیف باکلامی که به این روش در انتهای نوبت دوم این کتاب نغمه‌نگاری شده است را برای نخستین بار ترجمه و ترانویسی کند. روش نغمه‌نگاری مذکور، به‌طور کلی از ترکیب نغمات هفدهگانه ابجدی در نظام موسیقایی مکتب منتظمیّه، و علائم زمانیِ روش اروپایی حاصل شده است، که صفت انتخابیِ «ابجدینقطه‌ای» نیز به این تلفیق اشاره دارد. می‌توان گفت که جایگزین شدن حروف ابجدی موسیقی قدیم به‌جای استفاده از نقطه‌ها، کلیدها، خطوط حامل، و علامت‌های عرضی در نظام نت‌نویسی اروپایی، نگارش نغمات موسیقی ایرانی را در روش هدایت بسیار آسان‌تر و دقیق‌تر کرده است. هم‌زمان، استفاده از علائم متریک موسیقی اروپایی نیز امکان نگارش دقیق‌تر ارزش‌های زمانی را نسبت به نمونه‌های اولیّه نغمه‌نگاری ابجدی فراهم می‌کند. نکته قابل توجه درخصوص ترانویسی نغمات در روش تلفیقی مخبرالسلطنه این است که هدایت، هم‌چون اهل عمل موسیقی در زمان عبدالقادر مراغی (قرن نهم هجری)، فواصل نظری در رسالات موسیقی‌دانان مکتب منتظمیه را، که ریشه یونانی دارند، مطبوع نمی‌داند، در عوض فواصل دیگری را به پیشنهاد منتظم‌الحکماء برای هفده نغمه مذکور ارائه می‌دهد.

An analysis and transcription of a song-text notated in a fusion notation method (Abjadic-metric) by Mehdi-Gholi Hedāyat (Mokhber-al Saltaneh), considering the suggested intervals of Montazam-al Hokamā’

Although it seems that oral tradition has always been used for music education, preservation, and a representation of Persian musical culture, nevertheless, different notation methods have been applied at least since the ninth century in the Persian Empire and Islamic world. The most important and comprehensive of these methods has been the Abjadic alphabetical notation; an enhanced kind of notation system which was recognized in the form of a seventeentone temperament in the musical treatises of a thirteenthcentury music school, called “Systematist”. Based upon this system, the contemporary Iranian musicologist, MehdiQoli Hedāyat (Mokhberal Saltaneh) (1863 – 1955) presents a unique Iranian fusion notation method (Abjadicmetric) in his lithographic printed book “MajmaalAdwār”, which consists of a combination of modal structures of the said Abjadic seventeentone temperament, and the metric structure of the today’s European notation method, as well as some additional ornaments and articulation marks that are related to the performing techniques on the Persian instrument “Setār”. Although, these signs are not commonly used today, or are used in another sense, but undoubtedly are the essential elements for notating the elegance of Persian traditional melodies. In this article, after analyzing the details of Hedāyat’s notation method, which is described in “Dasture Abjadi”, an appendix to his book, the current author also transcribes the only songtext (Tasnif) notated in this fusion method in MajmaalAdwār. The most important advantage of Hedāyat’s fusion notation method is that by replacing the Abjadic toneletters of seventeentone scale with the European elliptical neumes on staffs, the need of using additional “accidentals” is eliminated, and there is also no need to use staff lines or ledger lines, neither to use any clefs and key signatures! The toneletter “A” or “Alef” is the first pitch in the Abjadic notation System, which would be the fundamental tone of the lowest open string of the instrument, and the remaining toneletters are tiered respectively to cover the almost twooctave range of an Iranian traditional instrument. However, one of the fundamental drawbacks to Hedayat’s fusion notation could be the nondifferentiation of the same toneletters in different octaves. Another advantage of Hedayat’s method is the application of the European metric system, which allows the more precise notation of time values, compared to the early Abjadic examples, in which the time values were simply written in natural numbers below each tone within a parallel horizontal line. An important point to be considered in the transcription of Hedayat’s songtext is the theoretical Pythagorean intervals of the Systematist musical school except the octave (2:1), perfect fifth (3:2), perfect fourth (4:3), and major second (9:8) are recognized as “unpleasant” by the practical maestros of both present and past times. Hedayat writes that “Abd alQādir [Maraghi] claims that the maestros of that time [(fourteenth century)] did not accept the Greek intervals, and manipulated them”. Instead, he presents a table of alternative intervals, most probably obtained aurally but also correspondent to the 53EDO temperament, at the suggestion of Montazamal Hokamā’, the most prominent Setar player at that time.