نوع مقاله : مقاله پژوهشی
نویسندگان
1 عضو هیئت علمی دانشکدهی موسیقی دانشگاه هنر
2 گروه آموزشی آهنگسازی دانشکدهی موسیقی دانشگاه هنر تهران تهران ایران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
This study investigates and validates the educational perspectives of authors of Persian-translated tonal harmony textbooks published between 1355 and 1390 SH (1976–2011 CE), based on the theoretical framework proposed by Éveline Andréani. These textbooks, which have played a central role in the pedagogy of Western music theory in Iranian music institutions, limit their focus to harmonic practices spanning from the late baroque to the mid-romantic period. They omit discussion of composers’ harmonic contributions before the seventeenth century and following the nineteenth century, and offer no justification for this selective historical emphasis. As such, a significant portion of the historical development of harmony—namely, early polyphonic traditions and modern/postmodern harmonic languages—remains unaddressed. Furthermore, nearly half a century after the first Persian translation of a harmony treatise—Praktischer leitfaden der harmonielehre by Richard Stöhr, translated by the late Yusef Yusezadeh in 1350 SH (1971 CE)—persistent shortcomings remain in aligning tonal harmony pedagogy with the modal structures of Iranian music. The available resources often fail to provide meaningful strategies for harmonizing Iranian melodic materials, especially given the complex modal systems that underpin traditional Iranian musical forms. This research aims to assess the theoretical coherence and contemporary relevance of these textbooks. Specifically, it examines whether the aforementioned works are still used in leading English-speaking academic institutions, namely the top five universities in the field of music according to the Top Universities global rankings from 2015 to 2023. The methodology is descriptive-analytical, relying on extensive library-based research and content analysis. The findings highlight the necessity of revising and expanding tonal harmony resources to reflect the developments of modern and postmodern music, introducing students to contemporary analytical methods and diverse approaches to polyphonic writing. Additionally, dedicating specific sections of these resources to harmonization techniques suitable for Iranian music would significantly enhance the quality and cultural relevance of harmony education in Iran. By offering a critical evaluation of existing translations and their pedagogical impact, this study calls for a more inclusive and historically comprehensive approach to harmony instruction—one that bridges Western theoretical frameworks with indigenous modal practices and meets the evolving needs of music students in both local and global contexts.
کلیدواژهها [English]
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