What music and calligraphy have in common Based on Mr. Ebrahim Olfat’s perspective, a popular Iranian singer, painter, and calligrapher

What music and calligraphy have in common Based on Mr. Ebrahim Olfat’s perspective, a popular Iranian singer, painter, and calligrapher

Both music and calligraphy are considered posteriori; in music, the melody is constituted by completed notes. Regarding calligraphy, sentences would be inadequate and meaningless if all associated parts are not written completely.

Ebrahim Olfat presented other commonalities of music and calligraphy through an architectural principle: music and calligraphy both share the feature called “Divisions”, that is, in music the notes are divided in some ways, and in calligraphy, the letters are analyzed by dots, half-dots, Zero and a half-zero. Unfortunately, some terms such as “one brush” are obsolete in our country’s calligraphy but are still used in countries of our vicinity.

Applying decoration in music and calligraphy is inevitable. For instance, the notes are performed with different vibrations to meliorate the music and make it outstanding. In calligraphy, especially Naskh and Thuluth scripts, if decorations are not utilized, we will have an ordinary script that lacks beauty.

Master Olfat believes that imagination plays a significant role in music, especially folk music, as well as in calligraphy, where objectifying and imagination (depicting the shapes and figures through calligraphic words) are crucial.

Script and Music

There are also other relations between calligraphy and music that are worth specialized discussing. For instance, in calligraphed couplets, there might be one or two Keshideh, and similarly, in music, Melisma plays the same role as Keshideh in Calligraphy. Therefore, there is a kind of aesthetic harmony between Iranian music and Persian calligraphy, which can be explored in both judgmental and sensory aspects.

Nasta’liq is the voiceless music of the letters, which could only be achieved by the rapture of truth and love. The notes of Iranian music are somehow analogous to the sound of Nasta’liq letters.

Step One: Style

In the first place, decide what style of music you like to write, say classical, rock, jazz, or folk. Go through the musical scale, instruments, and mood. Listen to several music pieces that you like to bring out some ideas. What combination of musical elements does this piece have that might be relevant to that class? What is your favorite part and why? determine your initial path to integrate a mixture. Does your piece have lyrics?

Specify your composition form. Most musical compositions consist of similar parts – duplicate parts – or different forms of each other – opposite parts. How long would your composition be? How many parts does it have? Note that each style of music has its common forms. You can utilize one of the available forms or create your special one.

Create your ideas

Use voice recorders, computers, mini-discs, etc. to record some of your musical ideas. Use your voice! Sing short melodies. Do this for at least 10 minutes. You can play and sing any song you like, and at this level, it’s not necessary to be adequate or ready to perform anything. No one will listen to your initial works. So, just chill out and follow that!