@article { author = {fatemi, sasan}, title = {Toward a New Theory for Popular Music}, journal = {}, volume = {2}, number = {3}, pages = {132-119}, year = {2011}, publisher = {}, issn = {2008-2649}, eissn = {}, doi = {10.30480/dam.2011.40}, abstract = {Abstract Many ethnomusicologists think that the classification of the music in two main categories “classical” and “popular” is impossible in certain countries of Middle-East. They think that these two musical categories, as opposed to what one sees in the West, are not distinguished clearly in these countries so that one often can see musicians of a sector, which can be seen as “classical”, are also active in the popular sector. Although it is not impertinent to interpret the musical life of certain countries of the Middle-East in this manner, this promiscuity of the sectors, as opposed to what think these ethnomusicologists, are not specific to these countries, but it can be seen even in the West just at the moment of the genesis of the popular music. The comparative study of the cases in Iran and Egypt shows that the genesis as well as the development of the popular music undergoes a determined law, in the West as in the East, without any exception. In fact, the popular music always is mingled with the classical music at the moment of its genesis and then, if the conditions are favorable, it separates from it to carry on its way independently. If the distinction between popular music and classical music in some countries of the Middle East is difficult for some ethnomusicologists, it’s reason is that they very often forget that the specific ties that linked the popular and classical musics are, especially in capitalist countries, the necessary condition of its genesis. The author tries to show that the popular music in Islamic societies where the market economy began to be installed towards the end of the 19th - early 20th century, followed, grossomodo, the same way in the West, so that the existence of a more or less general rule of the genesis and development of this music in the countries with market economy is probable. This rule is explained primarily by the notion of meso-music that binds the categories of classical and folk music. Then there are special ties that link the emergent popular music to classical music of the culture in question. Yet, it must be added that, for the Muslim countries the influence exercised by Western meso-music, considered (of course wrongly) as representative of Classical Music or “scientific one” on these cultures. The case study of Azerbaijan shows how this rule can be modified when it comes to socialist countries that have experienced another economic and social system.}, keywords = {Popular Music,Classical Music,Meso music,Tasnif,Taqtuqa}, title_fa = {به سوی نظریه ای تازه دربارة موسیقی مردم پسند}, abstract_fa = {چکیده بسیاری از قوم موسیقی شناسان معتقدند که طبق هبندی موسیق یها به «کلاس کی » و «مرد مپسند » در برخی از کشورهای خاورمیانه امکان پذیر نیست و این دو نوع موسیقی، برخلاف آنچه که در غرب مشاهده می شود، در این کشورها مرزهای مشخصی با کیدیگر ندارند، به طوری که بسیار اتفاق می افتد که موسیقی دانِ حوزه ای که ممکن است کلاس کی شناخته شود در حوزة موسیقی مردم پسند نیز فعالیت میک‌ند و محبوبیت عمومی دارد. هر چند این برداشت از زندگی موسیقایی برخی از کشورهای خاورمیانه نابجا نیست، اما، برخلاف تصور این قوم موسیقی شناسان، این درهم آمیختگی حوزه ها به هی چوجه منحصر و خاص این کشورها نیست و درغرب نیز، در ابتدای پیدایش موسیقی مردم پسند، این درهم آمیختگی به نوعی مشاهده می شود. مطالعة مقایسه ایِ مواردِ ایران و مصر نشان می دهد که پیدایش و رشد موسیقی مردم پسند، چه در غرب و چه در شرق، از قانون خاصی پیروی میک‌ند و استثنایی در این زمینه وجود ندارد. در واقع، همواره موسیقی مردم پسند در ابتدای پیدایش، با موسیقی کلاس کی درمی آمیزد و سپس در صورت مهیا بودن شرایط  مانند غرب و ایران  از آن جدا می شود و مسیر خود را مستقلاً طی میک‌ند}, keywords_fa = {موسیقی مردم پسند,موسیقی کلاسیک,مزومیوزیک,تصنیف,طقطوقه}, url = {http://dam.journal.art.ac.ir/article_40.html}, eprint = {http://dam.journal.art.ac.ir/article_40_99993c05766cc89901da45c055265ec0.pdf} }