دانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-2649112320210219“Typology of Drama “King Snake” based on Theory of Mythos “Frye’گونه شناسی نمایش نامۀ «سلطان مار» بر اساس نظریۀ میتوس «فرای»518101610.30480/dam.2022.1392.1325FAشیرزادطایفیدانشیارِ دانشگاه علّامۀ طباطبائی، تهران، ایرانکورشسلمان نصردانشجوی کارشناسی ارشد، دانشگاه علّامۀ طباطبائی، تهران، ایرانJournal Article20180311Bahram Beyzaee is one of the Iranian writers, researchers and artists who has created valuable and worthy works of critique and analysis in theater. Although the typology of his dramatic works has been considered in the context of several writings, they have been less scientifically and methodologically categorized and typologically analyzed. Of the typological views, Northrop Frye has a prominent viewpoint and offers a functional classification of typology. He adapts each type of comedy, romance, tragedy, and irony / humor to one of the Mythos of spring, summer, autumn and winter, and for each of the mythos, he has six types or stages that lead to an accurate intraspecific diversity division. According to Fry's viewpoint, it should be noted that the important work of Bahram Beyzaee,"The King Snake", can be evaluated and typologically criticized. In the research, we tried to use a qualitative analysis method based on library and documentary studies, and the use of Mythos theory of Northrop Frye, to present a typological analysis of the play. The research's achievements suggest that "The King Snake" in Fry's typology is belong to the fourth type comedy, which can provide a basis for familiarizing with a part of the material Beyzaee works. The king, the minister, the sheriff, the ambassadors of Jablasa and Jablaqa in this play, including the characters of Alazon, king snake, Lady Negar and the demons / trees / and the four complainant farmers are Erone characters, and Black is Clown Which is another comedy character. At the beginning of the play, the comic society has overthrown the order and the Utopian tries to create the order of the past. According to Frye Mythos, the comedy community, which is presented typically a small part of it, is such that the heroic society overthrows the old society and wins. This heroic community has once again brought the golden age society back to the audience; that is, we had a society that was stable and orderly destabilized by the precarious society, and the heroes are trying to regenerate it. Of course, comedy "The king Snake", like other comedies, only shows part of this complete round that is related to fourth Comedy Mythos. As a result, "The king Snake" in the ranking of Mythos, it is related to the fourth type of comedy Mythos. In this context, moving from the experience world to the ideal world of innocence and romance begins. Romantic comedies that can be seen in the Shakespearean romance comedy are usually related to the medieval tradition of seasonal ritual games. They can be called the Green World; whose design is akin to the triumph of life and love over a barren land. In the " The king snake", we also see the symbol of the green world in showing the ideal society. Ultimately, the love of the king snake and the lady Negar wins the world of barren land; that is, the play depicts the ideal society from the beginning and brings the society to our attention by describing the garden where the demons (ordinary people) are present.بهرام بیضایی از نویسندگان، پژوهشگران و هنرمندان شاخص ایران است که در عرصۀ نمایش، آثار ارزشمند، ماندگار و شایستۀ نقد و تحلیل خلق کرده است. گونهشناسی آثار نمایشی او اگرچه به صورت پراکنده و در لابهلای نوشتههایی چند مورد توجه قرار گرفته، اما کمتر به صورت علمی و روشمند به دستهبندی و تحلیل گونهشناسانۀ آنها پرداختهاند. از میان نظریات گونهشناسی، نورثروپ فرای دیدگاه درخور توجهی دارد و طبقهبندی کاربردیای از گونهشناسی ارائه میدهد. او هر یک از گونههای کمدی، رمانس، تراژدی و آیرونی/ طنز را با یکی از میتوسهای بهار، تابستان، پاییز و زمستان تطبیق میدهد و برای هر میتوس، شش نوع یا مرحله قائل است که به تقسیمبندی دقیق درونگونهای منجر میشود. با توجه به دیدگاه فرای، باید در نظر داشت که اثر مهم بهرام بیضایی با عنوان «سلطان مار» قابل ارزیابی و نقد گونهشناسانه است. در پژوهش پیشرو، کوشیدهایم ضمن بهرهگیری از روش تحلیل کیفی، با تکیه بر مطالعات کتابخانهای و اسنادی، و کاربست نظریۀ «میتوس» نورثروپ فرای، تحلیل گونهشناسانهای از نمایشنامهی فوق ارائه کنیم. دستاوردهای پژوهش گویای این است که نمایشنامۀ سلطان مار از منظر گونهشناسی فرای، ذیل گونۀ کمدی نوع چهارم قرار می-گیرد، که این امر به نوبۀ خود، میتواند زمینهای برای آشنایی با بخشی از بنمایههای آثار بیضایی باشد.https://dam.journal.art.ac.ir/article_1016_dd51e9d53c5a3208fe2b13176069d44d.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-2649112320210219Reflexive and Political Embodiment in Samuel Beckett’s Krapp’s Last Tape and Catastropheبررسی تنیّت انعکاسی و سیاسی در آخرین نوار کراپ و فاجعة ساموئل بکت2136101710.30480/dam.2022.1482.1350FAنرگسمنتخبی بخت وراستادیارِ گروه زبان و ادبیات انگلیسی، دانشکدۀ زبانهای خارجی ، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایرانJournal Article20180520Beckett’s last plays criticize the discourse of power with a more political approach than his early works. This essay scrutinizes his change of approach and meanderings in politicizations of the body or political body with a focus upon the act of embodiment as an undeniable cornerstone of contemporary identity and subjectivity. Krapp’s Last Tape as the representative of Beckett’s early plays is compared to Catastrophe as his most political work in the corpus his late plays. The first section of this essay studies Krapp’s Last Tape from the perspective of Pragmatist Sociology and its well-received and prevalent sub-category, which is “reflexive embodiment”. Reflexive embodiment views identity as the reflection of social images, interactions, concepts, and influences. The problem with reflexive embodiment is that it neglects and undermines politics of the body or the processes through which the body and embodiment are politicized and shaped by the discourse of power. Reflexive embodiment sees the body as a mirror held up against others, people surrounding us, social events, and processes. Krapp examines his body not just through reflection, but constant self-reflection and self-scrutiny, that is to say, the act of recording the tapes produces multiple selves of/for Krapp. Each tape becomes an other for Krapp resulting in his sense of loss, desperation, and psychological pain. The mirror within the mirror embodiment of Krapp reveals the fact that the reflection in Beckett’s play becomes performative as it results in a labyrinthine selfhood. It can be claimed that Beckett’s revision of his approach to the body reveals the shortcomings of sociological embodiment and reflection theory. Reflexive embodiment lacks a vivid political discourse. Thus, the second part of the essay analyzes embodiment in Catastrophe from the political lens of “state of exception”. State of exception, introduced and promulgated by Carl Schmitt, is the essence of power; it is how power comes into being, grows, instills, and installs itself in the society. Power with the use of state of exception exposes the body to a radical, yet fundamental dualism: It includes the body by excluding it and punishes the body by taking care of it. It can be stated that state of exception is the way through which power rules without overt and severe force; it controls the subjects without violent enforcement. Such a zone of indistinction between inclusion and exclusion, violence and care, nature and culture, law and lawlessness surfaces in Catastrophe as Protagonist’s body is meticulously and pointedly formed and ruled over by Director’s constant orders. Protagonist’s body is excluded from the sphere of the social and the political as it is included within Director’s instruction. In Catastrophe, Beckett reveals the state of exception, the oscillation between exclusion and inclusion and its impacts on Protagonist’s body. In Beckett’s late plays, body does not concord with social requirements and interactions and it is victimized and experimentalized. In his politicization of the body, embodiment induces disembodiment as any interaction with the society inevitability and forcibly carves the discourse of power on the body.تئاتر متأخر بکت با رویکردی سیاسیتر از آثار اولیهاش از گفتمان قدرت انتقاد میکند. این مقاله با تمرکز بر تجربة بدن بهعنوان رکن انکارناپذیرِ هویت معاصر، نگرش بکت را به سیاستِ بدن یا تنیّت تحلیل مینماید. آخرین نوار کراپ، نمایندة اولین آثار بکت و فاجعه، سیاسیترین مصداق از آخرین نمایشهایش مورد بررسی تطبیقی قرار میگیرد. بخش اول، به بررسی آخرین نوار کراپ از منظر جامعهشناسی پراگماتیست و تنیّت انعکاسی میپردازد. تنیّت انعکاسی، هویت را بازتابشِ انگارههای اجتماعی میداند و عرصهای درخور توجه برای سیاست تن قائل نیست. کراپ نهفقط با انعکاس بلکه خودبازانعکاسیِ مکررْ بدنش را میآزماید. اما تغییر نگرش بکت، کاستیهای تنیّت جامعهشناختی را نمایان میسازد. ازاینرو، بخش دوم، تنیّت را در فاجعه از منظر مفهوم سیاسی «وضعیت استثنا» موشکافی میکند. قدرت با وضعیت استثنا، بدن را دچار دوگانگی میکند: با حذف، در سیاست شاملش میکند و با مراقبت، مجازاتش میکند. بکت در فاجعه، وضعیت استثنا، تعلیق بین اخراج و شمول و آثارش را بر بدن «قهرمان نمایش» نشان میدهد. در بکتِ متأخرْ بدن با نیازها و تعاملات اجتماعی هماهنگ نیست و به قربانی و آزمایش تبدیل میشود. در سیاستِ بدن و بدنِ سیاسیِ بکتْ، هر گونه تعامل با جامعه، لاجرم و ناخواسته، نفوذ قدرت را بر بدن نقش میزند.https://dam.journal.art.ac.ir/article_1017_d8344fc952c295eec3a75f3db24812e1.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-2649112320210219Narratology of Sequence Shot in the Digital Era with Emphasis on the Concepts of Time Order and Duration
Case Study: Russian Arkروایتشناسی سینمای نما - فصل در عصر دیجیتال با تاکید بر دو مفهوم ترتیب رویداد و دیرند مطالعه موردی: فیلم کشتی روسی3754101810.30480/dam.2022.1447.1340FAسیدعلیروحانیعضوِ هیات علمی و استادیارِ دانشگاه هنر دانشکده سینما و تئاتر، گروه سینما، تهران، ایرانآبتیناصلاح پذیر اسفندآبادیکارشناس ارشد سینما، دانشکدهی پردیس بینالمللی فارابی، دانشگاه هنر، تهران، ایرانJournal Article20180718A style of filmmaking, named Sequence shot or Plan-Séquence, has been one of the prevalent styles of filmmaking in the last few years. The term “Sequence shot”, or “Plan-Séquence” in French, is a long take that constitutes an entire scene. The camera movement in this kind of shot covers the whole space of the scene. Various filmmakers from all over the world, including the Iranian Shahram Mokri, Mania Akbari, and Mehdi Fard Ghaderi, have shown interest in the sequence shot style, employed it extensively, and exerted it in their works. “Fish and Cat” (2013), the most famous movie employing such a style) has gained international fame . Although it may seem a modern movement, the sequence shot cinema has its roots in classic cinema, in which the films were shot in a single take owing to the – absence of film editing. However, by using the achievements of digital era, such as the replacing of negative films by hard disks, the duration of cinematography was increased to fit the capacity of hard disks. In contrast with the past, when shooting was limited to only 11 minutes of continuous film recording, the new technologies have brought up the possibility of producing long shots without the use of cinema tricks (Rope, 1948). The modern sequence shot cinema has been able not only to present critical qualitative and quantitative revolutions, but also to change narratology in modern cinema. As a result, the changes brought about by sequence shot influenced narratology in cinema. In this article, “Duration” and “Time Order”, the two concepts of the narrating process are investigated, and then the movie “Russian Ark”, as a prominent sequence shot movie, is analyzed for the further investigations of the new changes brought about by the modern sequence shot cinema. “Russian Ark”, one of the pioneers of the one take films, is an experimental historical drama directed by Alexander Sokurov, entirely filmed in the Hermitage Museum in 96 minutes. It was nominated for Palme d’Or in 2002. The results of this article clarify the differences between in classic cinema and that in the modern sequence shot cinema. In classic cinema, narrating was based on a sequential time order, but in the modern sequence shot cinema, what Gerard Genette called “Anachrony” is used to build a time order in the story. The arrangements of the events in the narrative is called Time Order. Any change in the succession of events will result in Anachrony, which can be divided into two types, Analepsis and Prolepsis. As a result of using “Anachrony”, the duration in films is capable of experiencing different states of decrease, increase, and compression. The term “Duration” indicates the relation between the time needed for particular events to happen and the time taken for them to happen in the text. It is essential to recall the earlier works which were filmed as “Scene”, in which the narrative time is always equivalent to the dramatic time and the event time. In such works, the time order is not disturbed.سینمای موسوم به نما-فصل در سالیان اخیر یکی از انواع رایج فیلمسازی بوده است که نزد فیلمسازان متفاوت جهان و ایران اقبال فراوانی یافته است. اگرچه پیشینه ساخت این نوع فیلم به سینمای کلاسیک باز میگردد، سینمای نوین نما - فصل به کمک دستاوردهای عصر دیجیتال تحول کمّی و کیفی مهمی بوده و توانسته روایت پردازی در سینمای معاصر را متحول کند و در نتیجه روایتشناسی سینمایی را به تحولات ناشی از خود معطوف دارد. در این مقاله ابتدا با تکیه بر آراء نظریهپردازان روایت در ادبیات و سینما دو مفهوم مهم دیرند و ترتیب رویداد در فرایند روایتگری بررسی و سپس برای واکاوی بهتر تحولات نوین در این عرصه فیلم نما - فصل «کشتی روسی» تحلیل میشود. در پرتو نتایج حاصله از این مقاله مشخص میشود که سینمای نما - فصل نوین بر خلاف نمونههای کلاسیک روایتی مبتنی بر ترتیب وقایع داستان به صورت متوالی است که توانسته از امکان- به قول ژنت - «نابهنگامیِ» ترتیب وقایع در فیلم بهره گرفته و در نتیجه دیرند آن، برخلاف نمونههای متقدم به صورت صحنه که در آن همواره زمان روایت با زمان داستان و زمان نمایش برابری میکند نبوده و میتواند حالت هایی چون کاهش، افزایش و تراکم مدت داستان را در روایتگری تجربه کند.https://dam.journal.art.ac.ir/article_1018_9ade6452a520e57a4dd60eef5db2fcc5.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-2649112320210219Study of the Critical Function of Three Works in French New Wave Cinema and Self-Reflexivity of Cinema of Iranمطالعه کارکرد انتقادی سه اثر در سینمای موج نوی فرانسه و سینمای خودبازتابی ایران5574101910.30480/dam.2022.1866.1418FAمنیره الساداتسادات حسینیدانشجوی کارشناسی ارشد سینما، دانشکده هنر و معماری، دانشگاه تربیت مدرّس، تهران، ایران.علیشیخ مهدیدانشیار دانشکده هنر و معماری، دانشگاه تربیتِ مدرّس، تهران، ایران.Journal Article20190105Impact on Iranian cinema, as well as its understanding, this study attempts to reflect Iran's repertoire of the works in the cinematic critique of six works in the cinema of the French New Wave and its cinema. Two cinema from Iran and France.<br />It can be said that cinema, as the most influential art that depicts every thought and concept, was able to create a new wave with the aim of addressing the facts as a "new wave" that opposes any adaptation, imitation, repetition, and lie. This need for self-reflection and self-reflection made people more aware of the realities of their society without past barriers and pressures In order to achieve this intellectual, psychological and individual growth, one needs to doubt, investigate and investigate certain issues, to examine the basis of his beliefs in order to uncover the nodes formed within him, and his mental disorder To heal in order to reach peace with himself and restore his existential truth And it shares its inner peace with the world; it is thus manifesting itself to the world as it is in reality; it is self-reflective of the fact that the new wave of cinema has to be considered in order to achieve its goal, the reality of the world. Getting self-reflective is in his works, and self-reemergence is an inseparable part of the new wave of cinema..Because the new wave of French cinema reflects itself as a phenomenon of "transcendentalism", it seeks to clearly and transparently display its codes and structural elements, and has many functions, most notably its critical function. Regarding the nature of the subject, the study of the critical work of three self-reflective cinematic effects of Persia Khimavi's "Mongols", "That night, when Baron came" by Kamran Shirdel, "Close-Up" by Abbas Kiarostami, and three French New Year's " Truffaut, "Everything Going" by Jean-Luc Godard and Pierre Gourin, "Summer Memories" by Jean-Method, a type of descriptive-analytical research method and methods for collecting library information in the form of searching in scientific articles and books. Other tools of this research are observable. The research findings show that, Considering the world's need for a new approach to cinema and the emergence of a "New Wave Cinema", it is worth noting that in a world of this massive amount of communication and the pace of transmission, and given that humans inevitably had to adapt themselves to such a speed Forward, they may be subject to stress, confusion and superficiality, and compulsory exposure to the environment due to this wide range; To overcome these problems and prevent deep mental and psychological splits, they need to be self-aware and recognize their own weaknesses and strengths. In this regard, cinema, due to its wide extent in the world, has the greatest power of rapid, effective and profound transitions on people to enlighten the light of reason and awareness, to understand and accept duality, reality and truth in the world, and to have a peaceful attitude toward Reality and the world.با توجه به اهمیّت فهم صحیح موج نو سینمای فرانسه و تاثیر آن بر سینمای ایران، این پژوهش سعی دارد از طریق بررسی رویکرد انتقادی شش اثر در سینمای موج نو فرانسه و سینمای خود بازتابی ایران به خوانش دوباره و متفاوتِ این آثار دست یابد. میتوان گفت سینما به عنوان مهمترین هنر تأثیرگذار که هر اندیشه و مفهومی را به تصویر میکشد، توانست موج جدیدی را با هدف پرداختن به واقعیات به عنوان "موج نو" که با هر گونه اقتباس، تقلید، تکرار و دروغ مخالف است، از آنجا که موج نوی سینمای فرانسه به خود بازتابی به عنوان پدیده "فراژانریی و فرارسانهای" میپردازد که سعی دارد به شکل واضح و شفاف رمزگان و عناصر ساختاری خود را به نمایش بگذارد که مهمترین کارکرد آن کارکرد انتقادی است. با توجه به ماهیت موضوع پژوهش، نوع روش تحقیق توصیفی- تحلیلی و روشهای گردآوری اطلاعات کتابخانهای و ابزار دیگر این تحقیق مشاهده است. یافته های پژوهش نشان میدهد که با توجه به احساس نیاز جهان به رویکرد جدید در سینما، سینمای انتقادی با ایجاد تردید در مخاطب نسبت به مسائل پیرامون و باورهایی که از گذشته در ذهن مخاطب بدون هیچ تفکری شکل گرفته است به رشد فردی جوامع کمک کرده است.https://dam.journal.art.ac.ir/article_1019_5161b3e0a11eb9a67162d4d5e913148e.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-2649112320210219Spiritual Relation Between Ghazal and Avaz in the Music of Dastgahپیوند معنوی غزل و آواز در موسیقی دستگاهی7592102010.30480/dam.2022.1631.1380FAبهرامجمالیعضوِ هیات علمی دانشگاه گیلان، گیلان، ایران.Journal Article20180828This article is a study in spiritual relationship between Ghazal and Avaz in the Iranian classical music. If we try to discuss the use of poetic forms in music, Ghazal has the most priority to the rest. The both forms of Avaz and Ghazal have common interrelationships in form and content and closeness of these two may encourage us to suggest that formal structure from Avaz is inspired the Ghazal. The form of Ghazal consists of seven to twelve lines while the form of Avaz in performance is approximately the same. The lines of Ghazal coherence based on Radif and Qafieh, while the pieces of Dastgah coherence based on the Foruds (cadence). Ghazal became the most spiritual form in Persian poetry after the 13th AD. On the other hand, Dastgah is the most important form in Iranian music. Fundamentally, the content of Ghazal exists in the subject of lyric, mystical and moral. The content of Dastgah reflects the same material. In Avaz, singers are aiming to combine the spiritual contents of poems to the Dastgah and find the best way to consolidate them both together. To do so, they should achieve to a high understanding and knowledge in these topics. Upon the coherence theory of semantic, four main factors have been introduced as repetition, synonymy, antonymic and hyponymy.These factors are concordance the structure of Dastgah (repetition, variation, opposition and interrelation).This idea has been discussed that the lines of Ghazal express one theme while the other scholars believe that each line separately declare different theme. In spite of these two different ideas, we can examine both varieties in the structure of Dastgah and Ghazal. The reference for research hides in structure of Ghazal and the system of Dastgah.<br /><br />در این مقاله پیوند معنوی غزل و آواز در موسیقی دستگاهی به شکل تطبیقی و تحلیل نمونههای صوتی و مصاحبه با اساتید موسیقی ایران مورد بررسی قرار گرفته است. آز آنجا که در فرهنگ موسیقایی ایران، غزل و آواز به مثابه دو مقوله ی درهم تنیده شناخته می شوند، درابتدا درباره ی متن بودگی و انسجام معنایی در غزل و دستگاه توضیحاتی ارائه می شود و سپس پیوند معنوی غزل و آواز در موسیقی دستگاهی مورد بررسی قرار می گیرد. در بخش اوّل چهار عامل اصلی انسجام و پیوستگی معنا در غزل و دستگاه، معرفی و نمونههایی ارائه میشود. و درادامه مهم ترین عوامل پیوند معنوی غزل و آواز توضیح داده خواهند شد. نتیجهی بررسیهای انجامشده را میتوان چنین بیان نمود، این دو فرم (غزل و آواز در موسیقی دستگاهی) هم از جهت صورت و هم از جهت معنی رابطه درونی دارند. ابیات غزل از طریق ردیف و قافیه همبستگی خود را نشان داده و این در حالی است که دستگاهها همبستگی درونی خود را از طریق فرودها (کادانس ) آشکار میسازد. غزل و ابیات سازنده آن حاوی موضوعات عاشقانه و عرفانی و اخلاقی است. ماهیت موسیقی دستگاهی نیز از همین خصوصیات برخوردار است.https://dam.journal.art.ac.ir/article_1020_2873eee81d005178d34a18ddd2908eee.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-2649112320210219Faramarz Payvar's Compositional Techniquesضوابط موسیقایی فرامرز پایور93115102110.30480/dam.2022.1816.1410FAسید رامتیننظریجودانشجوی کارشناسیِ ارشد، دانشکدهی موسیقی و هنرهای نمایشی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.Journal Article20181217Faramarz Payvar is known as one of the most significant musicians of Iranian classical music in contemporary era. He has contributed to the development of Santur and Iranian ensemble performance and has a well-codified repertory from the elementary to advanced levels. Also, having hours of recorded music, stage performances, dozens of books consisting of his Santur repertory and Vocal Radif of Abdollah Davami, and his special style of improvisation, composition and ensemble arrangement have always made Payvar an important aural and didactic source for music students and his influence can be seen in the next generation of musicians. Therefore it is essential that his many published works to be considered and apprehend what has been done in them. These considerations and techniques in his works are not perchance because Payvar was well-known for his discipline and order in his personal and artistic life, so it can be said this order and techniques are not by accident and certain thoughts were applied. This assessment is essential in a different aspect as well: Most of the papers which has writen for Payvar's works were not analytical and they were only a non useful description of certain pieces and they did not include any useful information about how they were composed. This paper includes Faramarz Payvar's compositional techniques that he used in his performances. These techniques were used in his compositions and improvisations. These techniques have been considered in both modal and structral patterns. The modal techniques refer to a technique which has been used and a structral technique refres to a one which has several characteristcs in a certain form. In this paper by analyzing Payvar's writen works and considering them statistically, for knowing how many times a technique has been used, a definition and categori have been introduced. These techniques have been assessed in different forms of Iranian classical music such as Pishdaramad, Chaharmezrab, Reng and Tasnif. He has many compositions in this forms, therefore they have been written, so it can be easily analyzed and we can assess them easily by numbers. Although it must be said that a broad assessment on Payvar's work and each form should be done separately but the effort in this paper is to give a general perspective to the reader so the method can be applied in a broad and vaster range, not only in Payvar's works but also in other musicians whom Payvar has been influenced by them such as Abolhasan Saba, specially that Payvar has notated a wide range of works by other important musicians such as GholamHossein darvish, Roknedin Mokhtari and dozens of Pieces by Alinaghi Vaziri, Rohollah Khaleghi and AliAkbar Shahnazi that he has arranged them for his ensemble.Also this perspective can ascertain the influences of him on the next generation of musician such as hossien Alizadeh and Parviz Meshkatian. In conclusion it could be said that Payvar's Chaharmezrabs have the most complex in both modal and structral techniques and his Rengs have the least.فرامرز پایور از تأثیرگذارترین موسیقیدانان معاصر موسیقی کلاسیک ایران است. وی متحولکنندهی نوازندگی سنتور، گروهنوازی ایرانی است و صاحب مدونترین کارگان آموزشی در میان سازهای ایرانی است که از سطح مبتدی آغاز و به دورهی عالی ختم میگردد. علاوه بر این، ساعتها اجرای ضبطشده و صحنهای موجود از وی و همچنین سبک خاص او در بداههنوازی، آهنگسازی و تنظیم برای گروه و دهها کتاب و مقاله،کارگان آموزشی سنتور همچنین ردیف آوازی عبدالله دوامی، سبب اهمیت بالای پایور در موسیقی ایرانی است و همواره یک منبع مهم آموزشی و شنیداری برای هنرجویان بوده است و دامنهی تأثیر آثار او را میتوان در نسلهای بعد از او ردیابی و پیگیری نمود. مقالهی حاضر دربرگیرندهی ضوابط و چهارچوببندی موسیقی فرامرز پایور است که وی به آنها در طول اجرا مقید بوده است. این ضوابط چه در آهنگسازی و چه در بداههنوازیها مورد استفاده او بودهاند. در این نوشته با تکیه بر آثار مکتوب وی و بررسی آماری آنها، بدین معنی که یک ضابطه در چند مورد بهکارگرفته شده، دستهبندی و تعریفی از ضابطههای گوناگون ارائه شده است. در پایان نیز میتوان اذعان نمود که بیشترین ضابطهمندی در چهارمضرابها و کمترین آنها در رِنگها صورت پذیرفته است.https://dam.journal.art.ac.ir/article_1021_1ccf3c0fd9c74e665d07f83374730f78.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-2649112320210219Stress and tune in vocal music of Iran, needs and methodsتکیه و آهنگ در موسیقی آوازی ایران ضرورتها و روشها117131102210.30480/dam.2022.1877.1420FAسید محمد امینمیراحمدیکارشناسِ ارشدِ رشتۀ موسیقیJournal Article20190109Stress considered as a sound factor to highlight one of word’s syllables and also tune as a vocal sound variation is infact plan of stresses. Being supposed an effect of four accent along with pitch, intentsity , metric (place of beat )and agogic (duration) on stress acts in music during this research indicating that stress mostly transferred by pitch accent and pitch time signature is not critical. Appliing note for “relying on” sylluble must be lower from “potential” one, In addition being pitch of other syllables has no influence on meaning transference. Due to the two fundamental of meaning transference and language quality maintenace, poems and music joint resources of stress reflection and tunes in music requierd necessary; but as far as language quality in itself, is a function of speaker’s accent and emotional space not as a constant element, therefore knowing its an essential accordingly just is acceptable in the field of tastes , but meaning transference of words in music although has a significant role but unable to keep cosistant look to all words, and must be descrimination within words resulted in creating of meaning difference by stress variation ( effective stress) - more concerning with distinguishing and morphological role – and the other words ( ineffective stress) and should look need of observance of words stress in music from spectral point of view.<br />***<br />variation is infact plan of stresses. Being supposed an effect of four accent along with pitch, intentsity , metric (place of beat )and agogic (duration) on stress acts in music during this research indicating that stress mostly transferred by pitch accent and pitch time signature is not critical. Appliing note for “relying on” sylluble must be lower from “potential” one, In addition being pitch of other syllables has no influence on meaning transference. Due to the two fundamental of meaning transference and language quality maintenace, poems and music joint resources of stress reflection and tunes in music requierd necessary; but as far as language quality in itself, is a function of speaker’s accent and emotional space not as a constant element, therefore knowing its an essential accordingly just is acceptable in the field of tastes , but meaning transference of words in music although has a significant role but unable to keep cosistant look to all words, and must be descrimination within words resulted in creating of meaning difference by stress variation ( effective stress) - more concerning with distinguishing and morphological role – and the other words ( ineffective stress) and should look need of observance of words stress in music from spectral point of view.<br />***<br />variation is infact plan of stresses. Being supposed an effect of four accent along with pitch, intentsity , metric (place of beat )and agogic (duration) on stress acts in music during this research indicating that stress mostly transferred by pitch accent and pitch time signature is not critical. Appliing note for “relying on” sylluble must be lower from “potential” one, In addition being pitch of other syllables has no influence onتکیه عاملی صوتی برای برجستهسازی یکی از هجاهای کلمه است و آهنگ کلام تغییرات صوتی گفتار است که در واقع طرحی از تکیهها است. تأثیر چهار تأکیدِ زیر و بمی، شدت، متریک (محل ضرب)، آگوگیک (کشش) برای اعمال تکیه در موسیقی مفروض بود که طی این پژوهش مشخص شد که تکیه بیش از همه با تأکید زیر و بمی منتقل میشود و میزان زیر بودن اهمیتی ندارد. برای بازتاب تکیه در موسیقی کافیست نت مورد استفاده برای هجای تکیهبر از هجای بالقوه زیرتر باشد و زیرایی سایر هجاها در انتقال معنا تأثیر ندارد. منابع پیوند شعر و موسیقی بازتابِ تکیه و آهنگِ کلام در موسیقی را با توجه به دو ضرورت انتقال معنا و حفظ کیفیت زبان ضروری دانستهاند؛ اما از آنجاییکه کیفیت زبان خود تابعی از لهجه و فضای احساسی گوینده است و عنصری ثابت نیست ضروری دانستن آن بر این اساس فقط در حوزۀ سلیقه قابل قبول است اما انتقال معنای کلمات در موسیقی اهمیت دارد ولی نمیتواند نگاه ثابتی به تمامِ کلمات داشت و باید بین کلماتی که تغییر تکیه در آنها تفاوت معنایی ایجاد میکند (تکیۀ مؤثر) که بیشتر مربوط به نقش تمایزدهنده و صرفی است و سایر کلمات (تکیۀ غیرمؤثر) تفاوت قائل شد و با نگاهی طیفی به ضرورت رعایت تکیه کلمات در موسیقی نگریست.https://dam.journal.art.ac.ir/article_1022_1526bbbc702c4e5c8f16ba60f87233e0.pdf