نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی
پیاپی 60 (زمستان 1397)

This article examines the works and the musical life of Gustav Mahler, the late-romantic Austrian composer, and his influence on composers such as Arnold Schoenberg, Anton Webern and Alban Berg. In the history of music, after the greats such as Haydn, Mozart and Beethoven who were active during the classical period in Vienna and are known as the Viennese School musicians, in the early 20th-century Vienna witnessed the rise of other significant composers such as Schoenberg and his students Webern and Berg, who because of the impact of their works and musical beliefs on the musical community, were later called the composers of the Second Viennese School. Aside from music, there are certain common aspects between this school and philosophy as well. The modern critical philosophy of the 20th century, namely the Frankfurt Philosophy School, is closely related to Theodor W. Adorno who was once Schoenberg’s student and this caused the Second Viennese School to become more widely-known in 20th century. This school, like other art schools, is connected to a historical chain in terms of development. Just as great composers such as Haydn, Beethoven, Wagner and Mahler are dependent upon the musical thoughts of their ancestors, the musicians of all generations need to adopt the experiences of the ones before them. This article will show in an analogical and adaptive manner how composers of the Second Viennese School followed Mahler’s thoughts regarding their dealing with musical elements such as texture, harmony, orchestration and other elements, and used his experiences in their own development of music. In order to reach credible and correct results in this research, the text has been divided into two segments. First segment is a review on the musical literature of the past and topics related to Mahler’s artistic life in order to clarify his musical aspects and his artistic imagination for the reader. Second segment involves the analogy between Mahler’s musical ideas and the Second Viennese School, presenting evidence. In this segment which can be considered to contain the main discussion material in this article, works of the three great composers of the Second Viennese School (Schoenberg, Webern and Berg) are compared and matched to Mahler’s musical ideas separately, and are discussed and examined thoroughly. We also examine some interesting points where we observe Mahler being influenced by these composers which is nothing new in the history of music. To name a few, we can consider Schoenberg’s Disfigured Night and Gurrelieder to have influenced Mahler’s harmonic point of view. However, Mahler’s Influence by far outweighs how much he was himself influenced, which is what motivated the authors of the article to explore this topic of interest. Mahler’s emotional support for this school and the inspiration caused by his works both contributed to the development of the fresh structure of the 20th century. In general, it is safe to say that the Second Viennese School and its composers are all consequences of Mahler’s rich music and his artistic thoughts.

The present study surveys the origins of the formation of Graphic Notation in John Cage’s works, the avant-garde composer of the twentieth century, and the reasons for the replacement of the visual and Prosy aspects instead of the traditional notation. This changes of the music notation system begin in his works from the early 1950 and his landmark is in the late 1960 and in his “Song Book”. Although, Cage’s famous composition of “Silence” or “4′33″ for any Instrument or Combination of Instruments”, is The beginning of the very important changes in his music and notation. In his notation methods, we can distinguish two major aspects: the first aspect, there is still the traditional notation, such as the staff, beat, time and duration, but, he has changed it in his notation methods, so, a performer is able to decide on some parts and to perform his interpretation of the scores. But, in the second aspects, started with time delay to his early notation, he relinquish all methods of the traditional notation and replace the picture or text elements instead of them. In this aspect, a performer interprets the totality of the scores.
The reasons of the present research is his attention to the contemporary and previous artists in the field of Graphic Notation and collect them in “Notation”, and his reference to the impact of the painters, poets and artists in the formation of his music in the collection of his writings and lectures. The purpose is to clarify the chronological trend of this impact and the achievement to the reasons of his tendency to the new ideas of his contemporary and previous movements. This research uses two methodes: Chronological and Descriptive-Analytic methodes, based on library resources, especially, reference to the writings and the remainder interviews of Cage. The chronological trend depicts on Cage’s influence of Futurism, Dada, and especially, Marinetti’s Futurist manifesto, called ” Destruction of Syntax- Imagination without strings-Words-in-Freedom” and his poetry book ,“Zang Tumb Tumb”, and the ideas raised by Russolo in his manifesto “The Art of Noises”, as well as, Mallarmé’s Concrete Poetry , Apollinaire’s ideas in Visual Poetry, the experiences of Sonia Delaunay and Blaise Cendrars, and his collaboration with Fluxus movement that tried to eliminate the boundaries between the arts.
The reasons for these tendency was the efforts to achieve the expressive manners proportional to his new musical ideas that its motivations hide in Futurism movement and the changes of the modern music. So, the changes of his notation can be divided into two periods: the first period represents the visual expression that reflected in the attitude of Mallarmé and Marinetti and includes the collection of the scores that have distorted graphically in order to convey the feelings. The second period, in addition to complete the first period, declares the concept of the Simultaneity in the Visual Poetry that influenced by the attitude of Apollinaire, and tries to reflect the concept of the music in his visual manifesto.

Performance anxiety-the exaggerated and incapacitating fear of performing in public-is a widespread problem among musicians. It occurs frequently and can cause considerable distress. This fear afflicts individuals who are generally prone to anxiety, particularly in the situation of high public exposure. Performance anxiety probably is as old as artistic performance itself, but psychological researches on it started only about some decades ago. Studies have shown that high percentages of anxiety disorders are common among both amateur and professional musicians during performance activities.
Irrationality, perfectionism and catastrophic cognitions are the main characteristic of musicians. Unfortunately, these are the main cognitive reasons of increasing fear which reduces success-ratio of their performance. Pessimistic self-talk, irrational beliefs and feeling of panic can seriously affect performance quality.
One of the effective psychological treatments is cognitive restructuring, the process which attempts to modify habitual thoughts and attitudes; rationalizing the individuals’ irrational beliefs. Unfortunately, this kind of educations did not exist in the performance instructional curriculum.
Rational-Emotional Therapy is one of the most prevalent cognitive methods applied to reduce the anxiety disorders. This method is based on the Albert Ellis cognitive theory. From his point of view, our emotions are results of analyzing Activity events in our Beliefs, not the events per se. To the other word, after being analyzed in our Believes, Activity events will lead to emotional and behavioral Consequences (i.e. irrational believes cause emotional distress and rational believes results in balanced emotions). Hence, each change in the process of analyzing the beliefs system leads to a change in the emotional consequences.
The aim of the present study was to determine the effectiveness of rational- emotional group training on musician’s performance anxiety. The research method is an experimental one accompanied by both pre-test and post-test phases with one control group. Validated Spielberg state- trait anxiety inventory questionnaire were employed in order to assess the quantity of performer’s anxiety in each phase. The sample includes 60 (mean age=19.31 years, SD=2.46) amateur music performers who have at least 5 years of professional experience and 3 live performances. They had received instructions of a melodic instrument for a minimum mean (SD) time of 6.1(1.42) years in Karaj’s music institutes. Participants were selected by nonrandomized sampling and then were divided into two separate groups (experimental and control) randomly. Initially, the pre-test was performed for both groups by solo public performing and then Spielberger test anxiety inventory was fulfilled. Next, the experimental group underwent group rational-emotional restructuring and training for eight 2-hours consulting sessions. At the end of the training, post-test was performed for both groups. The data was analyzed by SPSS-22 and then the independent T- test was performed. The results showed a significant difference: the mean scores of state anxiety in the experimental group in comparison with that of the control group was decreased significantly (P<0.05). With a deductive overview, results showed group rational- emotional restructuring was effective in reducing musicians’ performance anxiety. According the above mentioned, group rational and emotional trainings are recommended for performers in the educational process to control and decrease performance anxiety.

The visual structure of a film is a construction of connected visual elements of that film. This structure is used to progress the story, make the meaning and transfer the feeling of that film to audiences. So a good way for studying any filmmaker’s films is to understand his or her film’s visual structure and techniques. In this text, the goal is achieving this understanding about Asghar Farhadi’s films. This doesn’t mean that we want to understand the image in his films abstractly, but we want to analyze the connection between image and story in his films, So we use a descriptive and analytic method. At first we describe the connection between image and story, and then we analyze this question that why Asghar Farhadi’s visual techniques are so impressive and effective. In this text also we emphasize on visual structure as a dynamic set which is completed in audiences. For this reason at first we describe different parts of a visual story according Boris Block’s theory and we try to reveal how the visual characteristics of a film change through these different parts. Then we study the relationship between semantic structure and image in films. Then we analyze Asghar Farhadi’s films according to the connection between visual structure and story and we disclose Farhadi’s visual techniques in the process of storytelling. The most important questions of this research are that how image in a film can fulfill dramatic goals of that film, How it transfers feeling and meaning of a certain film to audiences. How it progress conflicts of a film. For answering to these questions we should go back and study film not from image but from story. We should grab and understand the meaning of story and its structure. The image is a vehicle to transfer the story. So understanding story structure is necessary for understanding image. But how can we understand story. A very effective way to do this is to divide story to three different parts; 1-Exposition; 2-Conflict; 3-Resolution. Exposition means revealing the characters and story conditions. Conflict is a situation in which the main character fights against antagonists or other obstacles. And resolution is the end of a film, when other story lines will be completed. And also there are several important points in a film, for example the beginning of a crisis and climax. Block believes that all these parts and points have equals in visual structure of a film. So we can talk about visual exposition, visual conflict and visual resolution. Any of these parts has its own visual attributes. So for analyzing visual characteristics of Farhadi’s films, we should study these different parts in his films. According to this study we deduce that Farhadi, with the use of visual realism, makes dramatic constructions of his films stronger and attracts audiences to his characters. For this reason, visual techniques like deep space, handheld camera, several points of views, limited color pallet, merging negative and positive spaces and high key lighting become main methods for cinematic expression in his films.

About the Hajj's Rituals and how to do it (the rules, the provisions and the history), numerous articles have been published. But about analyzing of it with Performative approach, there hasn't been intensive research yet. This study has endeavored to doing a Comparative analysis between the "liminality" - a concept of Victor Turner's and Arnold Van Gennep's perspective in The Rites of Passage (1909): In which that people passing through it (as a step) and during a special ritual, to arrive at important points in the life and their growth. - and "Theater expedition" or "Expedition Theater " - a new kind of theater; a form of theater that is to do it during a trip (travel), a time (or period) and a place (three points: a beginning, middle, end). And in the other words, a new form of planned trips (only in form, not In short performed and how it's done by the participants) that in the continuous flow and, as scrolling to find songs, rituals, stories and other aspects of a ecology, are in the place.- To achieve this goal, In the first step define the key concepts of current study- liminality, Expedition Theater and Hajj's Rituals (the purpose of this concept in this article, is a series of acts that a Muslim person does, Based on a religious duty and if he or she has enough power to reach the house of God in Mecca city.) – then, with a focus on Turner's proposed pattern of triple Features of Ritual- imperatively, structured and religious belief- the structure of Hajj-as a ritual-, will be examined and analyzed by Performing view. Also by Categories and study of Conditions and requirements that Leading to create the liminality, and achieve to obtaining four indicators-personal, mental, advertising and Critical- as methods of Liminality's influencing, both patterns are compared with each other. The outcome and the final achievement confirmed that Research hypothesis based on Compliance with or similarity and alignment between theory (Turner's votes - pattern of Expedition theater) and text (Hajj's Rituals) In two directions: the similarity and alignment and Reject the hypothesis in direction Adaptive. Also, the outcome of phenomenological model of Theater expedition and Hajj's Rituals, In the structural level (performative) were matched and in the content level (motivation and goal setting) has been dissimilar and disparate. Expected outcomes of this research will be a small step toward more recognition of ritual and an expression of Iranian religion and culture, the concept of liminality (In the applicable index analysis of dramatic formations) And finally, the Expedition Theater as a form of the new Specie of Performing Art's. And also hope, that this study and the results and how to do it, is the beginning of the comparative studies in interdisciplinary studies, drama, theater, religion and culture and beliefs of people in geographically various areas, to promote anthropological studies in the field of theater and other performing arts dependent on local characteristics and place in an area and finally, to get closer more various religious beliefs and rituals.

The difference between male and female is clear. This could be in biological or anatomical features or in other ways such as wearing clothes, making up, social manners, walking and laughing but it is not limited to these things and the difference which is less obvious but important is lingual behavior. Linguistics of gender is a well-known concept in linguistics. It has been examined widely to gain varied theories about lingual manner of male and female .
Actually language is the expression of our identity and this identity is well shown in the society. This is important discussion how male and female use the language based on their civilization experience because we will get the wrong identity through misused language usage and finally we will witness the society based on these wrong combination.
Language means social phenomena and a social structure pattern. People use their language not just to reveal their ideas or emotions but to use it in a way to describe their relation to get their identification. Language is always influenced by the society and its standards. Standards like gender, age, education, social class are indicators of the language usage in society. But the gender is different from gendered. gender contains social manners, functions, and thoughts that the regnant culture let the people have. Genderlect (gendered language)is a figure of a language of which the difference between the genders under the influence of the social agents cause the difference in phonetics, semantics and lexical.
Also radio is an aurally media in which, language is very critical. Radio drama is one of the important agenda in aurally Medias. The main tool to connect, in radio drama is languageused in characters’ speeches. It’s important for a dramatist to be accurate to this segment. Apparently In radio drama, this is just the voice which represents the gender. This capacity helps us to play the opposite sex rule even by changing in the voice. But it is not all about the voice, language and emotions also can represent the character.
In the following research it has been tried to examine genderlect based on linguistics definition, in radio drama dialogue as an example of social facts to gain the principle of accurate utterance and its influences. In this research regarding to theoretical foundation such as the theory of difference and pattern of gender and after the content qualitative analysis of 10 broadcasted drama in RADIO JAVAN channel during 1380 till 1390 we will come to this conclusion that genderlect contains different features for male and female. This differences categorized in to 5 : timing of utterance, manner of utterance, type of utterance, shape of utterance and position of utterance.
Looking at encoded tables proves that the usage of genderlect creates two opposite but equal forces which guarantee the balance of the work. We can be witnessing character creation, function and advancing the dramatic mood by using these two opposite forces. It is also inevitable to have an unbalanced show by not using genderlect.

Improvisation is a performance in the “moment” and without previous prediction which at least in the last century was the dominant form of Iranian classical music. However, existence of multiple versions and definitions of improvisation rob the opportunity of conceptualizing the scientific method. Thus, this study aims to reach a uniform definition of the concept. This study is based on the theories of the Austrian philosopher Edmund Husserl's transcendental phenomenology. This notion, as a research methodology, provides the steps in improvisation from start to finish leading to the creation of a musical work in details. In this study, the role of improvisation as a creator has the utmost importance, actually, the understanding of improvisation becomes possible on the basis of “understanding of improviser’s Life World ". The findings of this study renders the "Radif" as the model of Iran's traditional classical music so as to improvisation is taken into consideration on the Radif. The aforementioned issues can be summarized in “what is improvisation?”, or in other words, how can a comprehensive definition of improvisation be reached based on a methodology? For this purpose, the traditionalism’s belief (meticulous performing of Radif) as an approach referred to as natural approach in phenomenology is taken into consideration. Then, with the help of suspension of this approach, paved the way for the implementation of other phases of phenomenology with improvisation. Reaching to the essence of the given phenomenon (Radif) in the process of Eidetic reduction, summons our attention to the elements such as constituent’s intervals, melodic and rhythmic patterns in circulation of "Radif" that through them the essence or nature of a Goosheh is revealed. Then, the improviser was subjected to the phenomenological reduction and all meaning and validity of previously learned subject were taken away from him. This process provided a situation that improviser en counters the essence of the Radif in a pure sense, without any presupposition. The phenomenon appears to subject in two ways: a) something that is outside of our consciousness and is objective and b) something that shapes in our mind and consciousness. Thus, "eidetic reduction" phenomenon is rendered outside of the mind which leads us to its essence of nature. The consciousness of the subject is exposed to "phenomenological reduction", and is cleared of the assumptions and judgments. The final phase, in which subject and object are linked together, is an encounter between pure consciousness of improvisation, free from any supposition, with a phenomenon known as Radif. It is in this encounter that horizons, due to the expansion and development process, is revealed to the improviser and each horizon is followed by a new horizon. In fact, the expansion and development is a platform for demonstrating creativity which increases the possibilities of the improviser and assist him in exploring new possibilities as well. As a result, the implementation of improvisation with concepts like: epoche, reduction, intentionality, Life World, etc., provided a basis to explore the improvisation methodologically. This study is a qualitative method and has been conducted on library resources.

In this paper to compare Shakespeare's plays King Lear's Adaptive and King Lear in contemporary English playwright Edward Bond relying on violence as a factor in the formation of the band, plays. From the perspective of an individual's personality, behavior and actions of mutual reaction between the two product categories of environmental and hereditary factors, violence, and bad ethics and its roots in childhood and its manifestation in the ethics of the child reached maturity, an important issue is that a lot of questions with him. The purpose of this paper, the identification and investigation of its systems, various human communities in the violence and the role of violence in the creation of the characters in the band plays King Lear with point of view and with regard to this matter that reinvented and adapted a field that is now highly regarded, English playwright's motivations for King Leary we reinvented other naturally critical spirit of the band compared to the violence in the community Underpin the motivation involved and also his approach in a plays the character of King Lear is a comparison with Shakespeare's plays King Lear makes important; this is the direction that the existing violence in Shakespeare's plays King Lear characters especially girls, King Lear, the reason and the origin is not specified in the psychological drama, the band received the vacuum, and reinvented the characters and to the It mediates the psychological motive, they become violent for the hanger. Undoubtedly a historical juncture, in fitted in the theater and, ultimately, different forms and meanings to the cause that has seen two of its use of violence in the play is also one of the purposes of this article and is available for review with the theory of psychoanalysts and various theorists about violence and its formation as a emotionally that human behavior has reached puberty or even behavior that in children, the incidence of Be mobile. In order to achieve this, comparative plays King Lear William Shakespeare's King Lear and Edward Bond will be paid and the role of violence in the formation of a for examples of these two plays, as well as the opinions and the motivation for the creation of a band for King Leary will check on the other.But playing King Lear how he expresses this view, the band managed to psychoanalytic readings of Shakespeare's King Lear, plays that gap in knowledge according to the needs of the twenty-first century reader is discovered.He plays the character of Shakespeare, you see violence, but did not understand the reasons for it.In this paper to compare Shakespeare's plays King Lear's Adaptive and King Lear in contemporary Bond relying on violence as a factor in the formation of the band, plays. From the perspective of an individual's personality, behavior and actions of mutual reaction between the two product categories of environmental and hereditary factors, violence, and bad ethics and its roots in childhood and its manifestation in the ethics of the child reached maturity, an important issue is that a lot of questions with him.