نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی کارشناسی ارشد پژوهش هنر، دانشکده هنر دانشگاه شاهد، استان تهران
2 استادیار دانشکده هنر، دانشگاه شاهد، استان تهران، شهر تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Abstract
The influence of Persian Music on inner realm is mentioned by well known Post-Islamic music theorists.
Persian Music is known as a factor affect spiritual growth, moving toward perfection and purification
of the soul. Since a very long period, the mystical and spiritual effects of this music have been
repeatedly noted by Persian Music theorists such as Safiyeddin Ormavi; And even mystics like Emam
Mohammad Ghazzali, have considered the relationship between music and mysticism. Contemporary
Specialists such as Sayyed Hossein Nasr have emphasized this relationship too. The so-called “Traditional
Music” in Iran, has reached us through oral instruction, and a major part of its sources contain
spiritual and mystical aspects and have a close correlation with Islamic mysticism. Perfection, ecstasy,
symmetrization and repetition, as well as the inseparable relation of Iranian Traditional of Music with
poetry have been among the specifications of the mentioned music that jointed it with mysticism. This
kind of music is based on a system called “Radif”. Radif contains “Dastgah” or modes and “Avaz”
or songs, each one expresses specific spiritual and mystical themes and moods. The stages of Islamic
mysticism are as follows: religion, creed, wisdom and truth. These are classified in certain Dastgah
and Avaz. for example, the wisdom stage was associated with Nava (one of the 7 “Dastgah”s in Iranian
Traditional Music; and these Dastgahs, along with five “Avaz”es, make a Radif-series of twelve
each). Although these effects cannot be issued a general warrant, but the correct selection and usage of
Dastgah for the expected themes and moods is instrumental. This article shows how Iranian Traditional
Music expresses Islamic mysticism themes. This research is descriptive-analytic. The authors have
described Islamic mystical themes in Dastgahs and Avazes, as well as the mentioned Music specialty
context, and have analyzed the statements based on opinion of authorities. The relationship between
this music and Islamic mysticism, with this aim in the article has been the in forming of correct and
appropriate usage of qualitative and spiritual characteristics of Iranian Traditional Music and it’s relying
on the Radif, based on its mystical themes which can be expressed. The authors have shown that
Persian the mentioned Music has a great potential to help expressing Islamic mystical themes and
moods. An important point that has been tried to be proved in this article is showing that how this expression
was in search of spiritual possibilities of this music; Using material means, pretending to be
so and the mere shaking of the head and strange gestures and the use of instruments such as Tanbour
and Daf, Pretend forming a kind of music, called “mystical”. In fact, the goal is the same mystical
and spiritual ecstasy that has a superior place, comparing with technique. There fore, musical instruments,
physical materials and tools concern spiritual and mystical aspects of this kind of music, and
paying attention to Dastgah and Avaz states, leads to expressions of Mystical themes. Also, matching
Dastgahs and Avazes with Islamic mysticism stages were analyzed that however, some matches seem
appropriate, but some are obscure and far from reality.
کلیدواژهها [English]
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