pouya sarai

Bruce Ellis Benson, in his phenomenological theory The Improvisation of Musical Dialogue, points out that in the creation and performance of a musical work, there is always a platform for improvisation that brings the composer, performer, and listener into a kind of discourse. Through hermeneutic phenomenology, he presents his theory in the context of Western classical music and jazz with an overview of musical traditions and applications. Improvisation has always had a special place in Iranian classical music. The purpose of this study was to investigate the concepts of Benson's design on improvisation, including the ontology of the musical work, the originality and identity of the musical work, the limitations of creative performance and how to convey the composer's intention to the audience based on Iranian classical music. In this research, which is in the category of qualitative research, the research method has been applied in terms of purpose and descriptive-analytical in terms of methodology with a phenomenological approach. All material is obtained through the library method. The results show that in Iranian instrumental music, "Radif" plays an important role as a musical world for a dialogue. Improvisation has an interpretive nature in Iranian music and Iranian classical music composers, along with ontology in Benson's theory, always enter into an open dialogue on the application of Iranian music in creating a piece of music. In composing their musical works, Iranian instrumental music composers always enter into an open dialogue based on the tradition and application of Iranian music, and contrary to the common notion that improvisation and composition are created out of nothing; Composing in Iranian music is always based on the tradition and works of the past (Radif, ancient works and even the composer himself) and in Iranian music, it is better to use the word "piece" instead of the work, which is part of a coherent whole. This piece of music, which lives in the world of the emergence of Iranian classical music, has a fluid identity that always continues to live with the performance and interpretation of an experienced performer who is familiar with the tradition and application of Iranian music. Also, the need for moral responsibility of Iranian music artists in the face of and in dialogue with the "other" is an important issue in Benson's theory and it is important to expand it in Iranian classical music.

The socio-economic status of parents is directly related to parents' participation in activities related to their child's musiclearning. However, there is insufficient evidence on the impact of parents' socio-economic status on music learning activities and children's choice of instruments. The aim of this study was to investigate the effect of socio-economic status of parentsontheir participation in their children's music learning and children's entertainment with music-related activities. This study examined the value and extent of parental involvement from the perspective of 157 parents with children between 3 and 12 yearsold, enrolled in music classes in Tehran. The main tool for collecting information required for the research was a questionnaire. Descriptive statistics were used to collect the quantitative data of the questionnaires and the collected data were analyzed using SPSS and Excel statistical software. In addition, children from families with high socio-economic status are more involved in music learning activities. As this study shows, the socio-economic status of parents has a significant impact on their children's participation, perspective and interaction. Therefore, educators should pay more attention to children's backgrounds in order to provide appropriate guidance and support based on the needs of each student and their parents. A more regular communication and interaction between the teacher, the student and the parents about the challenges they face and their expectations will help increase children'slearning of music.

One of the most common problems with computer networks is the amount of information in these networks. Meanwhile searching and getting inform about content of textual document, as the most widespread forms of information on such networks, is difficult and sometimes impossible. The goal of multi-document textual summarization is to produce a pre-defined length summary from input textual documents while maximizing documents’ content coverage. This paper presents a new approach for textual document summarization based on paraphrasing and textual entailment relations and formulating the problem as an optimization problem. In this approach the sentences of input documents are clustered according to paraphrasing relation and then the entailment score and final score of a fraction of the header sentences of clusters which have the best score according to the user query is calculated. Finally, the optimization problem is solved via greedy and dynamic programming approaches and while selecting the best sentences, the final summary is generated. The results of implementing the proposed system on standard datasets and evaluation via ROUGE system show that the proposed system outperforms the state-of-the-art systems at least by 2.5% in average.

Automatic identification and classification of the Iranian traditional music scales (Dastgāh) and melody models (Gusheh) has attracted the attention of the researchers for more than a decade. The current research aims to review conducted researches on this area and consider its different approached and obstacles. The research approach is content analysis and data collection method is based on the documentary-library study. Findings indicated that the main obstacles and reasons for the inefficiency of this area researches are due to performing the researches in parallel and individually, lack of a coherent dataset for Iranian traditional music and also, lack of researcher’s knowledge of the theoretical foundations of Iranian traditional music. It could be considered two main approaches for researches in automatic identification of the Iranian traditional music. The major researches has been published until now, is conducted based on Macro approach, which merely considers the scales of five Dastgāhs in distinguishing them from each other. Since Dastgāhs division does not have enough authenticity and there is no consensus on the number of Dastgāhs and their boundaries among the Iranian music theorists, Micro approach has been suggested for future researches, which tries to identify short melody models (Gushehs) based of melody sequences of representative phrase of the Gusheh.