Katoul maqami music is one of the oldest music in the regions of Iran

Golestan has been influenced by different cultures due to its proximity to some local and foreign tribes and therefore the music of this region is numerous and diverse both in terms of structure and ethnic characteristics. In Golestan’s poems and melodies, the climatic and natural features of the region are clearly seen and the living and tangible elements of nature, bumps, mountains, forests, sea, animal husbandry and agriculture are reflected in various arts. The geographical extent of Golestan has identified and distinguished the authorities and micro-authorities according to the culture and geographical location of the region, and its proximity and mixing with different ethnicities has affected the music of each region.

Katoli music, as a rooted art, is one of the most important and ancient music of the Iranian regions that has been played in this region for many years and is still one of the important music authorities in the country that many professors and artists have played a role in introducing and transmitting it to today’s generation.

The basis and birthplace of Katoli maqami music should be sought in the dialect, way of life and livelihood of the people. The dialect itself plays an important role in creating a musical melody and causes special and different musical tones with other ethnic groups; As the way of life and work demands its own songs. Therefore, the basis of Katoli maqami music should be sought in the economics of animal husbandry, herding and agriculture. Immigration, weaving, milking officials in animal husbandry; The Beaton Bridge and the sowing of seeds in agriculture all reflect this fact.

One of the oldest instruments in the Katoul region is the boxwood instrument, which all ranchers and herdsmen knew how to play, and whispered songs that gradually became known as mute, both during the grazing of cattle and when settling in livestock herds. Later, with the transfer from the mountainous areas to the plains and plains, Katoli maqami music also entered a new process.

Katoli’s maqami music is based on the three great vocal positions of Herai, Rast Magham, and Kalekhsh. The sub-branches created by each of the main positions are called “sub-positions”. There are also different types of main positions that are made and gradually evolved according to the tastes of the native khanyagars, so that each of them is divided into 4 categories: long, short, double and long.

Katoli’s maqami music sections

1- Non-verbal music: In this section, the songs are based on a mysterious story or narrative, in a way that expresses a specific theme or feeling. Versaqi, Zaranji, Shtarnaz and… are considered as Catholic non-verbal music which is called “maqam dani”.

2- Katoli vocal music: Harais, right-wingers, heads and minorities are examples of vocal music.

3- Chamber music: This music has a special variety and belongs to women (feminine maqam) and is used in weddings and celebrations. Among these types of music, we can mention the courtship music of “Nadambehaye Nadambeh”, the engagement music of “Anar TT”, the music of Hanabandan and the music of “Shahdamadad” which is performed while the groom is taking a bath, and sub-instruments such as Yarnaranji Khanum, Lare Lare.

4- Poems: The most famous of these poems are Abbas Galesh, Abbas Maskin and Muslim infidels. These poems mostly express the courage, bravery and special character of the lovers.

5- Katoli mystical music: Mystical poems are accompanied by prayers in the attributes of God and also the attributes of the infallibles and the pure Imams and are mostly performed without instruments. Haqqani, Amiri, reciting prayers are in this section.

Introducing music pieces

Sirvang
In Ni Bid Katoli, Ni Nawaz performs a long, non-verbal writing with the peak sound of a reed called “Sarvang”. After Sarvang Ninavaz, the singer performs a written voice as a prelude, which is called “Aman”.

A. Haraei: Haraei is used in most of the music of Iran; And the similarity is that loud shout in singing. In this position, each stanza of the couplet ends with the utterance of fast words and the stretching of the letters i, y, and… at the end of each stanza and special writings.

B- Right position: a position that is easily sung in Catholic music; Because less writing is used.

C – Kalkesh: In Katoli music, it is called long and long songs. کله‌کش; It is the culmination of Catholic songs.

Chamber music

Women have a high diversity in music and each of the customs related to chamber music; From beginning to end; Except for; They have their own poems and music, including courtship ceremonies, Hanabandans, engagement periods, and all stages in the form of poetry and music.

instrumental music

This type of music that is based on a hidden story or narrative; Includes a specific topic or feeling. Versaqi, Zaranji, Shatrnaz, Yarkhadijeh and Ismailkhani are from the non-verbal music group.

System

Poems express courage; Courage is the language of lovers; And has a large part of Catholic music. The most important of these poems are Abbas Galish, Abbas Meskin, a Muslim infidel, a girl and a shepherd, and so on.

Haqqani

It is one of the most original examples of vocal music in the south of Alborz. The desire of the people of Katolshahr to use the wisest themes of music; Deepening is a part of esoteric and ontological views. The brilliance and high capability of Catholic music led to the transformation of Haqqani poetry into Catholic themes and poetry.

Nowruz reading

Nowruz reading is one of the ancient Iranian rituals. The themes of his poems were praising God, praising kings, princes, and describing spring and its effects. This spring reading, which was accompanied by poetry, music and singing, was in fact the tradition of welcoming spring. Spring readers also honored homeowners and asked for peace.

It has various sections including non-verbal music, vocal music, chamber music, poems, mystical music on the one hand, as well as variety of positions and sub-positions, variety in music performance, use of various instruments such as reed, dotar, circle and… of the most important unique music features. It is Katoul’s position that attracted the positive opinion of the experts of the National Council of Intangible Cultural Heritage for the national registration of this work.

In the field of Katoul music, the ritual music of the Katul people, as well as Master Mehdi Malek Hosseini, was registered in the list of the bearers of the cultural heritage of the country as the bearers of the cultural heritage of the Katoul people.

In addition, Turkmen maqami music, the art of making Turkmen dotar, the art and skill of dotar ghezelbash, the recitation of Turkmen women’s songs and the Nowruz ritual of Golestan province in the list of national works and the dotar and kamancheh in the list of world works are other works of Golestan province in the field of music. Has reached the national and world record in the past.

Previously, 86 works in the field of intangible cultural heritage from Golestan province had been registered in the list of national works. By registering these seven works, the total intangible cultural heritage of Golestan province in the list of national works reached 93 works.

* Report from Maryam Mansouri, an expert in registering the intangible cultural heritage of Golestan province