نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشگاه هنر تهران، تهران، ایران
2 عضو هیأت علمی دانشگاه هنر تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
The transfer and transformation of folk music repertoire to classical music is always considered an important issue. One of these cases goes back to a part of Bushehr's folk music repertoire, known as Sharveh, which led to the formation of Avaz Dashti. Undoubtedly, other cultures have also influenced the structure of Dashti But the contribution of Bushehr's Sharveh_ha_i is particularly important here and historical developments show that the basis of the Avaz_ha_i Dashti is derived from Bushehr's songs. The most important questions of this research are the role of cultural and social contexts in the transfer of Sharveh songs to classical music, as well as the changes and metamorphoses created in the structure of these songs in order to adapt to the repertoire of Dastgah in the direction of the formation of Avaz Dashti. The research method in this article is descriptive-analytical and the method of collecting library resources and research in Bushehr region is used. The focus of the study in this article is on the repertoire of Mirza Abdallah's Avaz Dashti narrated by Nur Ali Broumand, one of the oldest narrations of Radifi. In treatises and other texts before the Safavid era, there is no mention of Dashti; however, it seems that the beginnings of this process go back to before the Qajar era. The importance of holding mourning religious rites related to Twelve Imam Shi'ism from the Safavid era onward attracted attention to “singing” in Ajam Iraq and highlighted the need for sad songs to hold these rituals. The transfer of the capital from Isfahan to Shiraz during the Zand period created a closer relationship with Bushehr. In this connection, Sharveh gradually received attention and was gradually considered as a part of Dastgah music repertoire. Their compatibility and similarity with the songs of Dastgah Shur gradually provided the basis for the creation of an independent Avaz. Sharveh_ ha after establishing their position in the internal structure of Dastgah Shur, when the Pentateuch Avaz-ha-i of the Dastgah Shur were formed, played a significant role in the formation of Avaz Dashti. The most important modal changes of Sharve_ ha in the process of transformation into a Avaz Dashti are the functionalization of the variable tone and the addition of the Owj/Oshagh mode to this song. Metrical changes and their use in Ghazal and Masnavi forms are also other changes.
کلیدواژهها [English]
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