جستجوی مقالات مرتبط با کلیدواژه "rhythm" در نشریات گروه "هنر و معماری"

Problem statement: 

Meter and rhythm in children’s poems have caused severe debates among researchers, as these multiple perceptions affect contemporary children’s poems.

 Investigating the rhythmic aspects of children’s poems and the factors that have caused different opinions on children’s poems. Some children’s poems are prosodic, and others are syllabic.

This research applied a quantitative-qualitative, descriptive-analytical method using library resources; in the first step, it deals with the reasons for the different views and the upcoming challenges. The second step is to study the conventional rhythmic models. It specifies children’s poems. The experimental phase of the research examined 300 children’s poems by contemporary and written children’s poems.

Different opinions on children’s poems and nursery rhymes are rooted in the following issues:1) Poems’ statistical community includes diverse types of poems that do not follow the same rule.2) Researchers have ignored spoken language and noticeable differences in long and short syllables.3) Some have not considered the difference between practical and theoretical values, i.e., the difference between the speakers’ reading and the expected values in the theories.

The three key concepts of time, place, and human behavior together shape space. The urban space and its changes are the result of human movement in time and space. Although there have been many discussions about the concept of space, the theories of time-geography and Lefebvre have had the most significant impact on urban issues.Urban parks, as one of the urban public spaces, are a suitable environment for the formation of behavioral camps. The presence of different human groups with diverse ages and genders in such spaces leads to the formation of specific places for individual and group socialization, creating a space of consumption with a special character. The surrounding environment as a result of time is very effective in the formation of the type of camp and its way of functioning.This research examines the rhythm of the behavioral hangouts of urban parks with regional (multi-neighborhood) function, using the case study of Ibn Sina and Baharestan parks in Zanjan city. This is because no special studies have been done on the subject of behavioral camp rhythm and the functional structure of rhythms in camp spaces, and most of the research has focused on explaining the formation of camps or the rhythm of spaces.

The current research is a type of qualitative research based on the descriptive-analytical method with the nature of discovery and the method of rhythm analysis. Data collection using field observation and continuous interview during the formation hours of the camp. Data analysis was done with qualitative methods based on communication matrix, rhythm and qualitative information tables with three main components of structure, dynamics and sociability of the environment.

The rhythm of the behavioral camp in the studied gardens is significant, active and explorable mainly in the spring and summer seasons. The use of space is different according to the type of camp, but they have functioned in connection with each other. Sports camps have more durability and annual continuity. The temporal continuity of the rhythm of the elderly-based behavioral camp has more daily and seasonal continuity in terms of the number and stability of people. In terms of the space allocation and the number of people, the youth behavioral camp has less space compared to other camps. Waterfront furniture elements, trees, play equipment, sports equipment, stones, chairs, trees, the smoothness of the park ground, grass, besides the spatial security factor, have a greater impact on the durability and daily continuity of the camp. Spatial dependence of camps based on the elderly, children and family have the highest ratio. The geographical distance of the residence in Tharbahank is less than that of the other centers. The type of space consumption in the studied rhythms is mainly social and sports in nature. The structural morphology of gardens (regular, irregular or linear geometric shape) is effective in the formation of the type of behavioral camp and its rhythm. The rhythm of the studied camps is mainly in daily and afternoon time sequence and has a specific location with fixed and variable people. Based on the correlation matrix, there is functional correlation and coherence between the variables. The rhythm of space use in the monthly time period shows that the behavioral settlements based on collectivism mainly have the starting point in April and the peak in August, and with the gradual change of climate (from heat to cold) they move to temporary disintegration and again with climate change. (from cold to heat) forms and peaks.

This research examined the rhythm of the social and age groups of the urban parks of Baharestan and Ibn Sina Zanjan. The study found that the rhythm of behavioral hangouts in urban parks is affected by a variety of factors, including:- The type of park: Parks with a focus on social activities, such as playgrounds and picnic areas, tend to have a more active and explorable rhythm than parks with a focus on sports or other passive activities. The time of year: Parks tend to be more crowded in the spring and summer months, when the weather is warmer and more pleasant. The weather conditions: Parks may be less crowded in inclement weather, such as rain or snow. The age and gender of park users: Parks tend to be more crowded with families and children during the day, while they may be more crowded with adults in the evening.The findings of this study suggest that the rhythm of behavioral hangouts in urban parks is an important consideration for park planners and managers. By understanding the factors that influence the rhythm of park use, park planners can better design and manage parks to meet the needs of their users.

Human life is full of various and frequent activities and events, occurring in time and space with different rhythms. This description of human "life" emphasizes the crucial role of rhythmanalysis for architects and urban designers, who’s creative job is to organize and pattern their "living" built environment.In the present article, while exploring rhythms of everyday life, designers' attention is drawn to the importance and necessity of recognizing these rhythms in development of architectural design knowledge. Therefore, first, an overall view of the day to day life rhythms in architectural spaces is presented, using logical reasoning and based on the research precedents. This overall view shows a hierarchy of rhythms in space, from natural rhythms to human-based ones including biological, personal, socio-cultural and physical-spatial rhythms.In order to corroborate the necessity as well as the mechanisms of rhythmanalysis, an educational complex was selected for a case study, in which non-interfering close observations, in-depth interviews, and qualitative content analysis, were applied, as methods of inquiry.The results indicate that in many spaces, more than one activity and event occurs. Thus, users have to constantly change the furniture in each space, or move from one space to another, to be able to accomplish their intended activities and/or to provide suitable venues for events to take place. The results also connote that it is not sufficient to draw merely upon established design standards, but also the frequency of activities and events in time and space must be taken into account.

The important foundation of Iranian art are derived from a religious culture and based on the studies conducted by elders and experts in this field, It can be said that this culture is in accordance with the principles of Islamic aesthetics. Studies that are still ongoing and many Iranian and foreign theorists are of the opinion that Iranian culture accepted Islamic principles when it saw them in accordance with its own culture. Including monotheism and
On the other hand, it should be known that the culture of each land flows deep into the lives of its people, including the art of that region. In the following, unconsciously it is noticed that Iranian arts, in many cases, have common concepts that exist in most Iranian- Islamic arts. Although these common features are less mentioned, they are also shown in the art of carpets.
Carpets weaving, which is the most popular and native urban, nomadic and rural art, has a definite relationship even with music. For further explanation, it should be remembered that the principle of Islamic aesthetics, is based on repetition, and music, in its simplest form, is a kind of repetition of sound with different moods.  What is obvious in Iranian carpets is the repetition of motifs with different degrees that make up the design. Paying attention to these points together increases the desire to find the rule of repetition in the existence of any interested person. Because trying to understand an artistic concept always means the desire to participate in the world created by the artist and the current research is also an effort to discover symbolic concepts and of course it is only ban opening towards the infinite horizon of hidden meanings in Iranian artworks.
With this description, it can be said that the presence of the rule of repetition in the carpet indicates the fusion of the carpet design pattern with the principle of rhythm.  It is obvious that this fusion exists in the design of all Iranian carpets and even outside the borders-regardless of the issue of their imitation of Iranian carpet design- including his competitors. But in this article, only some carpets of Kerman region (from the mentioned point of view) are examined.
Therefore, according to the mentioned cases, the present research has tried to analyze and evaluate the studyable examples of Kerman carpets, which are adornment of various museums today, from the point of artistic rhythm.
The data of this research, which was collected based on the library method, and analyzed method, has introduced  the types of rhythm in these carpets, relying on case examples.
Finally, the obtained results indicated that the designers have drawn motifs on a platform that draws the attention of the audience to the deep world of nature, considering the dynamic points and repetition criteria as one of the main bases and the understanding of these aesthetic values, including the principle of rhythm, evokes the existence of a superior force in his mind.
And finally, repetition and repetition is not only boring, but along with the two characteristics of symmetry and contrast, it is one of the characteristics of iranin art that the has found a strong presence in carpets and music.

Rhythm generally is the repetition of patterns regularly occurring in the phenomena and processes. This concept is understood well in music. The regular succession, tempo, repetition, and harmony are the familiar words that have always been heard. However, rhythm is beyond its audio or visual representations, and it has been studied in philosophy, art, sociology, psychology, human and urban geography, urban design, and architecture, showing its polymorphic nature. Explaining a cohesive framework of the aspects that implies the rhythm and provides new interpretations of rhythm are the focus of the current study. Therefore, the present research aims to answer the following questions: A) What are the aspects of rhythm? and B) How are they manifested in the architecture?In reviewing the literature, a chronological view has been adopted to determine the change in the concept of rhythm by experts in various scientific fields until the beginning of a new era of scientific research by Henry Lefebvre. Among the many experts who have conducted researched on the concept of rhythm and its characteristics, the views of four scholars were selected for formulating the theoretical framework. Those experts include Henry Lefebvre, Irwin Altman, Carol M.Werner, and Mattias Kärrholm. The reason for selecting these experts was that they had an interdisciplinary view in studying rhythm and also their fields of studies are related to architecture, culture and build environment. The aspects of rhythm were extracted and classified from these experts’ opinions.The research method was qualitative based on the logical reasoning approach. Data were collected through participant observation and semi-structured interviews with various school users. The research participants were ten permanent staff of the school (as the representative of the different groups of the school users) selected using the purposive sampling method and theoretical saturation criteria. These participants were: manager, human resource manager, staff of the human resource, manager of the cultural affairs, the executive deputy and support, library manager, the authority of the twelfth grade, photography teacher, service sector staff, eleventh-grade student. Analyzing the text of the interviews was done in three steps of Strauss and Corbin’s systematic coding process (open coding, axial coding, and selective coding) using Maxquda 2020, a qualitative statistical analysis software, to extract the activities and repetitive events of the users in the school.Results showed that intrinsic feature of rhythm is spiraling movement, manifested in the form of aspects of succession (accepting change over time), duration (continuation in time), speed (slow and fast), temporal salience (existing of qualitative and distinct moments), synchronization (Simulating the behaviors and movements of the people in social links). The movement concept can be seen in all aspects of rhythm. In Tazkieh school (Tehran City, Iran), Succession is understood by moving through stairs and different spaces in each floor, and also objective of sun movement during the day. However, daylight in school interiors does not have much effect due to the use of thick curtains to solve the problem of hijab. Succession in relation to erosion of surfaces in any building is a gradual change, indicating movement. This succession occurs in all buildings and its speed is inversely related to the quality of materials and their durability. Users' spatial experiences of daily activities and events in the school, religious, and national annual calendar indicate socio-cultural dimension of duration. Physical manifestation of this aspect of duration is in architectural elements, such as decorations, symbols, and architectural style. The instance of speed is defined by activity types occurring in a place and varies time to time. Mental perception of time is related to the rapid or slow occurrence of activities and experiences in a place that are changing over time. Each place, depending on its function, is host to certain activities that are regularly repeated. The example of a place with different speeds is obvious in the School. For example, the speed of classrooms is adjusted and changed by a mechanical clock between a quiet place during teaching and a fast place during break time and art workshops. The lived experiences and memories of school users of activities, events, and their locations in the school emphasize the temporal salience. Teaching behaviors and their repetition by students in social connections, such as events and ceremonies, is a clear example of synchronization.

This research tries to study the quiddity of Īqā’, rhythm, and other temporal musical elements which exist in forming a sonic event and also a sonic system. The above concepts are employed in fundamental theories of middle age and contemporary age as well as of Iranian music’s history. They are usually used to describe the duration of musical sounds. In the studies performed in this field, the main and basic quiddity of Īqā’ & other concepts is less paid attention to. The methodology utilized in this research is based on the descript-analytic method in a qualitative way which focuses on the temporal bases of music and the kinds of sonic systems existing in it, from the aspect of lexicology and the physical expression of sonic events. The information gathered in this research is based on library documents and primary documents such as manuscripts of treaties about music in the past, especially Risāleh Mūsîqî by Afzal al-Din Maraqi Kāshāni also known as Bābā Afzal. The above treaty goes back to The Seljuk period. In this treaty, Bābā Afzal defines Īqā’ as pause (Standstill). This definition is mentioned exclusively in this treaty, and it is quite different from other definitions in other treaties. The findings of this research prove the accuracy of this definition. According to the findings of this research, a sonic event, in its most essential formation, regardless of specifications of musical sounds like pitch, timbre, dynamism, and duration, stands on four temporal bases: Khiz, Zarbe(stroke), Harîkat, and Īqā.’ Khiz doesn’t have an equivalence in the theory of international and Iranian music, and it is talked about for the first time in this research. Khiz is defined as a movement to gain energy to vibrate the source of the sound. Singers and woodwind and brass instrument players breathing, raising hands or fingers in percussion instruments are all examples of Khiz in music. Relying on this concept, a more thorough understanding can be established of the concept of the meter. Zarbe (stroke) is defined as transferring saved energy in the plectrum to the source of sound that makes it vibrate. Harîkat is defined as the formation of mechanical waves in the air, made as a result of the source of sound’s vibration. Īqā’ and its similar concept, rhythm is a pause (standstill) which forms duration by making disruption in the process of movement and its division. These four elements along with the gradual presence of the concepts: duration, grouping, puls, and meter makes more complicated sonic events categorized by bounds as sonic systems. Sonic system due to each of the above specifications presence possesses significant characteristics which are called Hijāi system, Vāzhigāni system, Sefid system, Mosajja’ system, Adwāri system & Aruzi system based on structural complications of sonic events and the order of their occurrence. Sonic systems are organized next to each other and in the above order in one continuum called the temporal systems continuum of music. The temporal structure of pieces of music can be considered as a member of the sonic system of this continuum or a form made of more than sonic systems.

A critical look toward spatial issues necessitates criticism and transformation in theoretical and practical approaches toward space in the contemporary era. Spatial critical reading is considered a method to describe, interpret and criticize everyday life and identify spatial issues from the same perspective. Spatial reading first appears in theoretical traditions and components affecting it. Social theories about everyday life have gradually penetrated spatial studies and the recognition methods, in line with spatial turn. Space, in this opinion, shows everyday characters and their dimensions that it shows the current social situation. So, this space is considered to display the characteristics of everyday life and its constructive dimensions and the representative of the economic, political, cultural, and technical conditions. It means that space is based on daily activities in routine life and people's performance in their daily living (lived space) and the representative constructive factors (economic, political, cultural conditions, knowledge, and technology, which is known as perceived space). In this approach, space is known as good that is consumed in a new form. According to these necessitates, the urban space design process must emphasize everyday life's dimensions and components. Rhythmanalysis, as one of the analytical tools, is emphasis reading everyday life in urban space. This tool includes two urban rhythms: everyday and physical rhythms. They show linear and cyclic rhythms orders. This study aims to delve deeper and explain the complexities of multi-layered urban public space; Influenced by each society's social formations and the starting point of the epistemology of space in correlation with social reality, has been done.The research paradigm is critical, and within the framework of Lefebvre's theory of social production, explores everyday life in space through rhythm analysis and the connection of time and place. The research questions included identifying the components affecting the rhythm of the practice and developing a contextual model to read the space of Khajoo Bridge. The research's innovation is the description and explanation of the semi-hidden and hidden part of the urban public space (Isfahan Khajoo Bridge) using rhythm analysis of practice contrary to society's formal discourse. Using contextual theory, a systematic study of the information obtained from the field perception, including in-depth purposeful interviews and observations of the objective aspect of the occurrence of actions (behavioral patterns), has been performed. The results are formulated in a theoretical-contextual model with 12 main categories that show the relationship of practice with contextual conditions, causes of occurrence, interfering factors (aggravating), and consequences: Context of practice include ideological-governmental, natural, and environmental order; Its causes are a function of normative order and supervisory management; intervening factors including planned interactions, cultural exchanges, and interconnectedness of categories; Consequences include predictability of space, awareness of demands, reduction of legitimacy, and appropriation of space from formal discourse. The occurrence of practice has a temporal and spatial selection and is associated with membership in social groups. Their goal is spatial stabilization, gaining autonomy and legitimacy in space, and they have patterns of lawlessness-abnormality, space ownership, psychotherapy, and demands.

As an auditory art, Music results from the placement and repetition of notes in the temporal dimension; and, like visual art, Calligraphy results from the placement and repetition of visual elements in the spatial dimension. Therefore, to find a common ground between, or to equate two pieces of, these two artistic fields with each other is indeed a convoluted matter within which some challenges reside. There exist instances of being inspired by a visual piece of art and creating an auditory one; nevertheless, a logical procedure by means of which to proceed with this matter is verily missed. In the first step, finding similar substantive aspects in two works of art is the most important part of this process. The second step is to achieve a functional intermediate language to create a logical connection between the elements that in this study, innovative coding was able to create this connection. In a thematic classification, different pottery in terms of shape, construction, decoration, and color can be divided into the following categories: 1) colorless pottery 2) glazed pottery 3) black and white-coated pottery 4) pottery with Decorating. The main part of Nishapur pottery comprises pottery with an inscription in Kufic script which is the main subject of this research. This research is based on the fact that rhythm in any musical work is the result of repeating beats over time and in each visual work is the result of repeating visual elements in two or three dimensions. In the study of calligraphy texts on utensils, each vertical movement is equivalent to a "note" or percussion on the strings of an instrument. On the other hand, horizontal letters and elongations also perform the act of connecting between blows and show how it is done. Thus, the first thing that evokes rhythm is the way in which letters and words are repeated and changed, or in other words, the "composition" of letters, words, and finally sentences. In other words, what was studied in this study was not the letters as alphabetical elements, but their "letters as a visual form". The canonical issue of the present study is achieving a method by which to discover the rhythm in the works of visual art and turning it into harmonious works of auditory art. To inspect this matter, the inscriptions on potteries in Nishapur from the 1st up to the 6th Century A.H. have been inspected and selected as the main statistical population due to their specific style and preeminent artistic characteristics. They are 140 utensils that "Abdollah Ghouchani" has introduced in the "Nishapur Pottery" book. One of the graphic works done to analyze the shape of calligraphy was the linearization of circular texts. According to historical documents, many schools in Nishapur were operating at the time of the construction of these vessels, and well-known and reputable teachers taught various subjects to students. The quality of the lines used in the decorations also shows that the creators of the works were literate and had a deep understanding of composition in the visual arts. The main question of the present study is as follows, how can one create an auditory equivalent for a visual work of art? This study has been a comparative one whose applied objective is to inspect and introduce a technical method by the virtue of which to elicit the rhythm of the motifs from written works of art, turning them into harmonious pieces of music. The results of the investigations show that the calligraphic motifs used in the decoration and ornamentation of Nishapur potteries do have a rhythm that can turn into fully audible sounds by means of the methods of coding and notation utilized in this study. With reference and regard to the achievements of the present study, if the changes that each specific subject demands are applied, the method which has been utilized can be further generalized to other Visual Arts, resulting in the creation of harmonious pieces which are equivalents for visual artistic creations.

Herat has documented one of the most thriving Iranian art courses during the Shahrokh period. Understanding the motives for the flourishing of paintings of this period necessitates this research. The success of painting in any given period is a consequence of two significant factors. First, external causes such as government support and economic prosperity, and second, internal influences that include the relationships between the constituent elements of the painting. This paper, with an analytical and descriptive approach, will study the internal factors, namely the structural performance of the works of two painters from Herat School. Herat's paintings seem to have their splendor and brightness due to the painters whose visual structure is one of the most important and enduring points of their work. Herat's paintings seem to have their splendor and brilliance due to the painters whose visual structure is one of the most imperative and enduring points of their work. Rhythm, balance, geometry and motion are four important elements of the visual structure whose quality of performance forms the specific space of each painting. Obviously, these four elements do not have the same function in the paintings, and some of them have the most visual impact on the audience through rhythm and balance. As some other works do, it is through geometry and motion that this is important. The results of this study show that the visual structure is one of the most important factors in the flourishing of the works of Mirkhali Mosavar and Molana Ali and endures a different function in the works of these two painters. The purpose of this article, which is based on Giorgio Copch's theories of visual structures and is carried out via library research, is to analyze and explain the basic structures of three works by two Herat painters; thereby to emphasize the importance of the function of the structure of painting which is less discussed today in the field of this art.

The Zar ritual (ceremony) is a musical ritual known and performed in a vast area of ​​the world ranging from the northern and southern borders of the Persian Gulf to East and North Africa, spanning from Iran, Iraq, Dubai, Oman, Zanzibar (Ethiopia – east Africa), Egypt, Sudan and other countries within this vicinity. The performers of this ritual believe that their participation is an interaction between the beliefs derived from the ancient archetypes and the current beliefs about this ritual. On the one hand, this combines their current beliefs with their religious culture and on the other hand, they believe it will alleviate their pains and treat their illnesses. In this ideology, the illnesses can be of all sorts of ailments such as physical handicap like body paralysis, any sort of chronic pains in different parts of the body like the head, eye, stomach, or mental diseases like amnesia or depression. Social unluckiness in certain cultures isis also considered as a sort of illness. The patient is exposed to direct music for three to five consecutive days following the preliminary rituals. He/she assigns his/her mind and body to the world of winds (invisible supernatural forces), listens to music and rejoices in its rhythm. The Zar can be Muslim, atheist, African, Arab, Indian or Anglaise. Each Zar has its special character and needs to hear his special music since all ordered accessories are provided. From the intercultural perspective, this music is one of the most important elements in the treatment process. While researchers attribute the overall impact of the ritual to the beliefs and cultural behaviors, the performers of this ritual believe that music plays the key role in this ceremony. They believe that the Zar music is so influential that it should not be performed outside the ritual context, because the absence of factors such as a program director may distress the patient. These people believe that performing the music of the ritual in another situation will disturb and infuriate the supernatural forces and Zar winds. This shows the importance of listening to the Zar music in this ritual. This research tries to investigate this view from the perspective of the music impact by reviewing the ritual and concentrating on the functions of this music and the reactions of individuals and visitors to this music. We will achieve a different result about the impact of music based on written evidence and the role of music in the different stages of the ritual and healing ceremony. After a literature review of the Zar ritual in Iran and other cultural regions, we will provide an ethnographic study of this ritual with a functional approach to the music and the audience’s reactions to the performances. In the final section, we will examine the musical components of Zar songs and the importance and impact of "hearing" in the process of experiencing the emotional range and treatment progression. The importance of this approach is that it gives a new insight into the presence of music in the therapeutic rituals as a cultural input to better understanding the role of music among different cultures who practice this ceremony.

"TOMBAK'' is the most important percussive instrument in classical music of IRAN. This instrument is also known as: tonbak, tompak, donbak and dombak. About physical structure of this instrument it worth mentioning that two types of material are common for body: wood and metal, which the wooden type of Tombak is customary in classical music and the metal type is more usual to use in folk musics. The upper part of Tombak is covered up with animals skin such as cow and camel. In playing Tombak both hands playing same role and they are complementary of each other. Although its common to use cutaneous part of instrument as the main source of getting sounds, the wooden part is also use for getting different timbre of sounds. Including influential cultures on new generations of playing Tombak (from the rhythmic aspects) are the rhythmic system of Indian, Arabian and Turkish classical music. The main problem facing Tombak players which causes failure to achieve desired result, is lack of coherent system in Rhythmic-Metric structures which according to the non-metric structure of this music, Is not unexpected. Based on experiences and their perceptions -in compare with other instruments- Tombak players usually play the role of a companion. The wide range of technical changes in Tombak has increased the importance of its quality in companion than before. The procedure of this changes from the Qajar period up to now can be analyzed in notation and also its (Tombak) repertory which are mentioned in samples. In order to achieve good and measurable result as in other branches of science, we can use successful experiences in this field (which emerged in every way) and after reviewing them come up with result to solve these problems. The researches in this paper is descriptive. The original information and research data are obtained by the author through audio transcription and auditory audio from available works. The statistical society in this research include all the audio works companioned by Tombak in classical music of Iran. Sampling is non-random and selective. In selecting pieces the author also used his personal experiences. A list of all those who have had significant on the style of playing Tombak and accompaniment, was provide and their works have been reviewed. Artists who have been examined, explained as fallow whom are separated by their style of playing: Hossein Tehrani, Mohammad Esmaeili – Naser Farhang Far, Jamshid Mohebi –Amir naser Eftetah, Bahman Rajabi – Jamshid Shemirani – Arzhang Kamkar – Pezhman Haddadi – Navid afghah. The final results of the article are include what’s for the rhythm and Tombak in the Tombak’s accompaniment with other Iranian instruments, in field of timing and form (shape) of the Tombak entrance at the beginning of the pieces, the figures, the rhythmic figure of tombak executive and other instruments, the techniques used by tombak, the bases of improvisation or not, the quantitative and qualitative of rhythm, the presence and role of borrowing divisions, Tombak rhythm line ratio with melody will happen in the final section and tempo.

Igor Stravinsky, one of the most influential Russian composer of 20th century, is known for his revolutionary pieces that influenced the music of his time thereafter. His vast compositions from pieces for small ensemble to Opera and Ballets for large orchestras have opened new dimensions in orchestral music and introduced a new era of musical sounds to the world of music. His three Ballets including “Petrushka”, “Sacre du printemps (The Rite of Spring)” and “Firebird” form an important part of repertoire of today’s professional Orchestras; these ageless ballets have been gaining increasing attention since their birth. Sacre du printemps is a masterpiece known for its complex nature that offers challenges to musicians. The sophisticated graphic of this ballet is perceived to be a challenge to understand immediately upon studying the score. In contrast to the complex nature, The Rite of Spring is structured based on a strong logic that if understood, will mitigate the challenge of understanding the music. The logical Rhythmic structure of The Rite of Spring in relation to its complexity is the authors’ motivation for dedicating the rest of this article to a brief analysis of The rhythm in the Rite of Spring ballet.
Complex polyrhythms and difficult rhythmic figures used in this ballet make us ask “Why did Stravinsky choose such difficult rhythmic patterns and polyrhythms to compose this work?”, “What did he want to express during this rhythmic patterns?”, “As performers, how can we understand his music and achieve his intended sound through the written notes?”, “What is the relationship between his personality and his way of combining Rhythmic patterns in such an orderly form?”.
In order to find answers to these questions, some dimensions of Stravinsky`s life and character will be mentioned followed by an rhythmic analysis of rehearsal numbers 1 to 55. We will then be able to find the connection between the complex nature and logical rhythmic structure of this ballet.
A comparative review of the classic treatises, a thorough survey of the writings of contemporary authors on music, the life of Igor Stravinsky, and a special focus on the full score of The Rite of Spring, as well as personal experiences as a conductor; has guided the author to introduce a simplified method for understanding background of Stravinsky’s work and the complex Rhythm of Sacre du printemps to get a deeper interpretation of the Stravinsky’s music.
The author strongly believes that studying the score and learning the written notes are not enough to perform The Rite of Spring in the way intended by Stravinsky. Discovering and understanding Stravinsky’s thought that motivated him to compose such a revolutionary piece is a crucial factor that leads to a successful performance. Unfolding this unwritten part of the music is the most adventurous part of the journey that musicians go through to perform The Rite of Spring. Learning about the life and personality of the composer is an important part of studying the score which leads us to a more accurate interpretation of Stravinsky’s music.

Henri Maldiney has applied two meanings to aesthetics. One is related to sensation, another is belong to theory of art and artistic aesthetic. In both definitions there is a common point, rhythm. Rhythm goes beyond the limits of its definition in music and painting. Also, it resolves the objective and subjective limitation in aesthetics. Rhythm is a kind of ontological term which bring together heterogenous parts. In this paper I elucidate the formation of rhythm and show the relationship between these two meanings of asthetics.
The important concepts in Maldiney’s aesthetics include rhythm, space-time which is implicated in rhythm, existential crisis, chaos, genesis of rhythmic dimension and last but not least the motif. Two meanings of aesthetics are related together in the point of formation of aesthetics or rhythmic dimension in artistic work. Rhythm on the one hand is modulation of being/artist in different situations or possibilities of existence and on the other hand, is an operation which bring together the different Givens and parts in the surface of artistic works. Rhythm is grounded on aesthetic dimension. According to this, it’s possible to read Maldiney’s aesthetics post. kantian one.

Every nation has its own ideals that objectifying them is by culture. In the process of this transformation, the architecture and music which come from the culture of each region have a fundamental role. Architecture and music have many similarities in conceptual directions, space, shape and morphology. They also have similarities in the basic and fundamental principles such as proportions, rhythm, harmony, repetition, aesthetics, etc. In such a period of time that the architecture has been turning to be meaningless and just a formal user of elements, music sounds with regard to their influence on human spirit, can be a proper parameter to benefit in architectural design particularly in conceptual schemes. The aim of this study is to interpret music and architectural elements with a common language and answering the question of whether the music sounds have the possibility to be converted into architectural forms. In order to answer, with interpretive-historical research methods and collecting data from library sources and interviews, firstly by analyzing the nature of architecture and music, their constitutive parameters have been identified and then have been studied comparatively and many common features were found in the basic principles such as spacing, extension, taking advantage of geometry and mathematics, as well as factors such as rhythm and texture morphology. After finding 23 features in music that could be interpreted as the common language of architecture, examples of architecture were recalled by the common language of music and finally it was concluded that music can be a role model in architectural design since in addition to the mentioned common properties, both by using numbers and quantitative proportions of their primary materials and voice, create a space which has a qualitative nature. Therefore the musical Dastgah Shur was designed on the identification of spacing and extension as the fundamental elements of music and using these formal elements.