دانشگاه هنر نامه هنرهای نمایشی و موسیقی 2008-2649 10 19 2020 02 20 The Playing Style of the Master Hassan Kasaei شیوۀ نوازندگی استاد حسن کسایی 101 115 733 10.30480/dam.2020.896.1221 FA محمدرضا زینعلی مدرس دانشکدۀ موسیقی دانشگاه هنر، تهران، ایران. Journal Article 2017 05 06 Method and how to provide and state music (external and actualized manifestation of mental materials and assets plus personal inventions and tendencies) is called method or style. Study and familiarity of musicians with technical structures and elements of different schools and methods will cause increasing and varying executive techniques set for musicians and reviving past heritage. These are considered as a part of today’s activities of musicians. Based on documentary works in a 100–years juncture, a general division can be achieved about Ney musicians of Iranian music. Works of Ney musicians can be divided into three clear eras: the Qajar, the Pahlavi, and the Islamic Revolution era. In these ares, two musicians are considered as the most significant ones, Nayeb Asadollah Esfahani and Hassan Kassai who provided two different styles and methods in Ney playing. According to the opinion and quotation of masters and acquaintances with music, Hassan Kassai is one of the geniuses and most capable musicians in one hundred years. Today, all Ney musicians are indebted to him, whether for his direct or indirect mastering. Kassai made a new method in Ney playing. But what are stylistic specifications of Kassai’s playing? To answer this question, it has been tried to use all existing sources like left audios and visual works, both<br />formal and private release and also, oral and written opinions of some music masters in this regard. Bass voice in musicians before Kassai is soft bass but bass sound in Kassai’s playing is strong and has much volume. Kassai music is subject of Isfahan song school. He has provided three different narrations of Iranian music row. Most of his sentences have been run as songs and are based on poem syllables that he had in mind. Using elongated notes in sentences, no compression and opening figure and sentence motifs, attention and using silence between music sentences in playing have extended and spread theme or melody in different forms. He has tried to make sense and feeling of Gushehes, pieces, and cheerfulness in playing. He has extremely noted to comply with dynamics and make cases of musical pieces. His performed sentences have disconnected and connected notes, stressed on high and low melody, trail, and battery. He has used broken arpeges and accords. In performances, sometimes he has had modulation and referred to other modes. Four plectrums with Ney have been performed by Kassai for the first time. By using different lengths of Ney, he has participated in orchestras and choirs more than before, composing many pieces like City and Hope Caravan. حسن کسایی یکی از مشهورترین نوازندگان نی موسیقی ایران محسوب می‌شود. او شیوۀ متفاوتی در نی‌نوازی به وجود آورد. در این مقاله تلاش گردیده ساختار شیوۀ نوازندگی او مورد بررسی قرار گیرد. برای دستیابی به این منظور تقریباً تمامی آثار صوتیِ به‌جا‌مانده و همچنین درس‌های گرفته شدۀ نگارنده از محضر ایشان، مورد مطالعه و بررسی قرار گرفته است؛ علاوه بر این، برای نمایان‌شدن افتراق بین شیوۀ نوازندگی او با نوازندگان قبل، آثار یکی از مطرح‌ترین نوازندگان نی در گذشته یعنی نایب اسدالله اصفهانی، نوازندۀ صاحب سبک دورۀ قاجار، مورد مقایسه قرار گرفته و اغلب آثار صوتی این دو استاد نی نواز، قبل از نگارش این تحقیق توسط نگارنده مشق و اجرا شده است. نتیجۀ این مقایسه نشان می‌دهد که در عرصۀ نوازندگی ساز نی دو شیوۀ متفاوت و شاخص وجود دارد،: یکی شیوۀ نایب اسدالله متأثر از ردیف سازی مکتب آقا حسینقلی و میرزا عبدالله، و دیگری شیوۀ کسایی متأثر از مکتب ابوالحسن صبا و مکتب آوازی اصفهان که الگوهای ملودیک و اغلب متریک ریتمیک آن بر اساس هجاهای شعری شکل می‌گیرد و نسبت به نوازندگان قبل در پایبندی به ساختار ردیف و اجرای سلسله مراتب و تداوم گوشه‌ها، بداهه‌پردازی آزاد است. https://dam.journal.art.ac.ir/article_733_c925f32c6218b5f669b8a94e758cc61e.pdf