DELKAˆ,an important modal unit (æa@h gu@æa) linked to the dastga@h (q.v.) Ma@hu@r, constituting one of its four main modulations, perhaps the most important in expressive function, which contrasts strongly with that of Ma@hu@r itself. Delkaæ differs from the initial mode of Ma@hu@r by a displacement on the fifth, with a modulation in ˆu@r on G and a pause on F: (C, D, E,) F, G, Ap Bb, C, (D). Playing centers around G; the melody begins in the higher notes and then, after the sounding of an A, descends toward C in Ma@hu@r. These developments can be fairly long and may consist of three or four distinct phases, including the melody (gu@æa) H®a@j^ H®asan^ (Ma¿ru@f^, p. 15). Although compositions entirely in Delkaæ are very rare, the majority of compositions in Ma@hu@r include passages in this mode. Delkaæ is a well-codified gu@æa, and all its classical variants are quite homogeneous, though they lend themselves to improvisation nonetheless.

In Azeri classical music (During, pp. 115-17) the maqa@m (moqa@m) Delkaæ occupies the same position in Ma@hu@r and also in Ra@st. Its modal structure is identical to that of its Persian counterpart, but the intervals and the melodic line are slightly different. Furthermore, it is often played as an independent moqa@m, free of any reference to Ma@hu@r and associated with ˆahna@z (on the same scale), with developments in Baya@t-e Kord on the fifth in the descending scale (transposed to C, with F as dominant): C, Bb, Ab, G, F, Eb, D, C, (Bb). The diagnostic motif is the initial jump C-F-C.

There is also a composite maqa@m known as Delkaæ^da, invented in the 19th century by Ottoman musicians but unrelated to those under the Persian and Azeri homonyms. Nevertheless, an Arabic form of this mode sometimes exhibits some affinities (d'Erlanger, pp. 124-25).

Bibliography: J. During, La musique tradi-tionnelle de l'Azerbayjan et la science des muqams, Baden-Baden, 1988. Idem, La re‚pertoire-modeàle de la musique iranienne, Tehran, 1991. R. d'Erlanger, La musique arabe V, Paris, 1949. M. Ma¿ru@f^, Les systeàmes de la musique traditionnelle iranienne (radif), Tehran, 1352 ˆ./1973. M. T. Massoudieh (Mas¿u@d^ya), Radif vocal de la musique iranienne, Tehran, 1357 ˆ./1978.

(JEAN DURING)