Journal of Art and Civilization of the Orient

Typology of Javāb-e Āvāz in Iranian Classical Music Through a Formalist Reading Based on Defamiliarization(Case Study: Instances of Javāb-e Āvāz in the Album Nawā: Morakkab-Khāni)

https://doi.org/10.22034/jaco.2026.547682.1496
Volume 14, Issue 52
Summer 2026
Pages 46-53
Journal of Art and Civilization of the Orient

Document Type : Research Paper

Authors

Hossein Khoshchehreh Ziba 1
Simin Azaripour 2

1 Department of Music, Faculty of Architecture and Art, University of Guilan, Rasht, Iran

2 Department of Art Research, Faculty of Research Excellence in Art and Entrepreneurship, Art University of Isfahan, Iran

Abstract
The present study aims to propose a framework for the classification, nomenclature, and analysis of various types of Javāb-e Āvāz, as one of the two fundamental components of the säz-o-āvāz form in Iranian classical music. Since no systematic research has yet been conducted to formulate a methodical approach in this field, the authors, recognizing the necessity of addressing this subject, employed thematic analysis to conduct a detailed examination of the different layers of säz-o-āvāz, particularly the Javāb-e Āvāz, and to identify the relationships emerging within both theoretical and practical domains. In this regard, the theoretical framework of the research was founded on the concept of defamiliarization; accordingly, various types of Javāb-e Āvāz were examined as devices aimed at disrupting auditory expectations and foregrounding the musical language. The säz-o-āvāz pieces in the album Nawā: Morakkab-Khāni, a comprehensive and precise model for the typology of Javāb-e Āvāzs, were selected as the case study, as they fulfill the requirements of this research in line with its scientific and practical objectives. Situated within the constructivist-interpretivist paradigm, this study adopted a formalist approach, falling under the category of analytical case study research. Data collection was based on library documents, and sampling was conducted using criterion-based sampling. As a result, the classification derived from this analysis, as proposed by the authors, was as follows: 1- defamiliarization in Javāb-e Āvāz dependent on the modal factor: Mod-Pardāz and Mod-Gardān; 2- defamiliarization in Javāb-e Āvāz dependent on the factor of musical meters: Mowzun and Nime-mowzun; 3- defamiliarization in Javāb-e Āvāz based on formal literary patterns: Vāj-ārā, Mostazādi, and Talmiḥi-Tażmini; and 4- defamiliarization in Javāb-e Āvāz based on distancing from the vocal line: Doragāh/Chandragāh. The proposed classifications in this study can contribute to a more precise understanding of the performative structures in säz-o-āvāz accompaniments in Iranian classical music and pave the way for future research in this field.

Keywords

Sāz-o-Āvāz
Typology of Javāb-e Āvāz
Javāb-e Āvāz
Defamiliarization
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