نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی کارشناسی ارشد پژوهش هنر دانشکده هنر دانشگاه سمنان
2 دانشیار گروه پژوهش هنر دانشکده هنر دانشگاه سمنان
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
The concept of imitation of nature is one of the prominent topics that is discussed in various arts. Music is no exception to this rule, and throughout history, prominent composers have reflected the sounds present in nature in their musical compositions. According to Plato, nature itself is an imitation of original ideas, and imitative art is much further from reality. The main goal of this study is to evaluate Plato's opinion about prohibiting composers from modeling nature in works of art with regard to educational issues by studying the musical works of Abolhasan Saba. The questions are as follows: Does imitation of nature make a musical work undesirable and harmful according to Plato? What does the study of Saba's works based on Plato's musical criteria in Republic and Laws II, reveal regarding the overall discussion of imitation and educational issues? The statistical sample of the study consists of only three works by Abolhasan Saba, as a composer who was inspired by nature in creating works. The information obtained is analyzed using a descriptive-analytical method. The results of this research show that in the works of Abolhasan Saba, arrangements including formal elements and executive techniques were used that, without abandoning the form or losing coherence, the composer reflected sounds from nature that added to the beauty of the pieces. Saba's works preserve unity and coherence by using nature as a model and follow a perfect and pleasant melodic course. Even though the pieces lack poetry, they still have the ability to express and convey images. In addition to this, simplicity is observed in the rhythm and music of the pieces and there is no sign of complexity or confusion in them. Also, taking into account the conditions that Plato mentioned for the goodness, the works can be evaluated. The analysis showed that in the first stage, Saba has identified the initial ideas by field investigation and accurate recording of sounds. In the second stage, he tried to process his works close to the initial ideas, according to special arrangements, including formal features and executive techniques. In the end, he created works that are beautiful and pleasing to the ears, and even today, after several decades of their creation, they are taught to musicians of various instruments, maintaining their special place in academic environments. As a result, it can be said that although Saba's works are inspired by nature, they do not have the disadvantages that Plato lists for imitating nature in music in Laws II. On the other hand, these works are close to Plato's definitions of goodness, the conditions of correctness and beauty of music eventhough as the imitative works in an indirect way. For this reason, Plato's theory about the rejection of imitating nature in music can be violated. Not only is imitating nature or inspiration from it not bad, but all that makes a piece of music more pleasant and makes its influence the basis of an orderly and lasting aspect is the imitation of nature.
کلیدواژهها [English]
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