The Styles Of Melodic Variations In Orchestral Compositions Based On Kurdish Folklore Melodies

Abstract

Abstract.

The study examines the style of melodic variations in orchestral compositions based on folkloric lyrical compositions. The study examines the style of melodic variations in orchestral compositions based on folkloric lyrical compositions. It seeks to analyze the methods used by composers to transform Kurdish folkloric melodies into a contemporary orchestral form by integrating Kurdish folkloric melodies within a modern orchestral

context, reflecting a balance between authenticity and innovation.      

 The study focuses on the way folkloric melodies interact with orchestral compositions, the use of instruments in their diverse sonic colors, and how to modify and develop them through melodic variations to align with modern musical techniques while simultaneously preserving their original cultural and folkloric identity in innovative formulations within their traditional character.                      

The research consists of four chapters. The first chapter (the methodological framework) included an introductory introduction to melodic variations and how to address and develop them in orchestral compositions. Then the research problem, which was defined as (the style of melodic variations in orchestral compositions on Kurdish folk melodies), in addition to the importance of the one who seeks to benefit from studying the subject of melodic variations, and the aim of the research, which is directed towards identifying the style of melodic variations in orchestral compositions on Kurdish folk melodies, and then the spatial, temporal and thematic limits of the research. This chapter dealt with the terms included in the research.

 As for the second chapter (the theoretical framework), it included three topics: the first topic, the concept of (theme variations), the second topic, addressed the elements of melodic variations (Elements of Melodic Variations), the third topic included folklore melodies (Folklore Melody), and the fourth chapter consisted of the results, the most important of which are:

1 - The composer used the augmentation form within the melody, doubling the time value of the notes of the main melody and changing the musical scale according to the requirements of the diatonic arrangement and the composer's style.

2- The folkloric melody (Garmat Behstamat) was developed without compromising its folkloric form, using melodic variation techniques within the orchestral composition in a profound and extensive manner.

The conclusions are as follows:   

1- Folkloric melodies are collective in nature. Folkloric songs have a comprehensive and homogeneous character, presented in a different way almost every time, regardless of time or place. They maintain authenticity despite temporal changes, while remaining capable of development and reformulation to suit the modern era.

2- Folkloric melodies are among the most important elements of the cultural heritage of peoples, as they represent a cultural vessel that carries within it the identity, history, and values ​​of societies passed down through generations. The research concludes with a list of the sources used in the research.