جستجوی مقالات مرتبط با کلیدواژه « performance » در نشریات گروه « هنر و معماری »

At the end of the Qajar era, with the arrival of Haj Sheikh Abd al-Karim Haeri to the city of Qom, we see an organized seminary in this city. With his strong management, he created a strong academic field that became the source of great scientific developments over the course of a century. The government's prohibition and lack of acceptance of the media and the reluctance of seminarians to benefit and effectively participate in the field of new media in this period has caused scientific inactivity in the field of knowledge of mass communication tools and the production of knowledge and sciences related to media and communication based on Islamic and national foundations. Do not prosper in Iran.However, the functional examination of the seminary and the clergy in this period shows that the clergy did not prepare themselves to enter the field of media and communication knowledge, and from 1342 to 1357, the type of interaction of the Qom seminary with the media in the field of knowledge is such that only from a jurisprudential point of view Scientific research has been done. The emergence of newly emerging social issues in the field of media and communication knowledge after the victory of the Islamic Revolution caused seminaries and seminaries to bring their scientific and research capacity to the field and investigate phenomena from a religious perspective in the three fields of human resource training, research, and policy making. Media and communication. Although the seminary of Qom and its seminaries are at the beginning of their activity in the scientific and scientific field of media and communication, they are trying to create the platforms of innovation in these three fields in order to respond to the discourse needs of our era in the production of Islamic humanities. , to show the logical design of ideas, the prevalence of theorizing, methodical innovation and institution building to answer new questions in the field of media and communication. The upcoming research, using the analytical descriptive method, seeks to present a comprehensive functional report of the innovative knowledge activities of seminaries in these three important fields.

Since little research has been done so far on houses of Shiraz that qualify and have valuable criteria to protect and model their architecture, with a relatively comprehensive understanding of organization’s performance. The spatiality of houses can be used to achieve activity systems and behavior patterns of different users in them; Therefore, in case approach of research, Zakeri House has been selected as an existing, comprehensive and containing information of the one-sided Pahlavi construction of Shiraz. Therefore, the current research is an applied research in terms of the objective, and in terms of data collection method, it is a non-experimental descriptive research of survey and case type. The obtained results show that in the one-sided construction of first side of Shiraz, by removing functional yard and turning it into a transitory space, as well as by removing connecting spaces and corridors, it reduces performance of spatial organization in architecture. Thus, in examining the performance of the spatial organization of one-sided Pahlavi houses in Shiraz, the components of "accessibility" and "flexibility" in the movement system of space, the component of "permeability" in the system of space planning and the component "Connection" and "integration" in the functional system of space as positive indicators with an increasing effect, as well as the component of "average relative depth" in the system of space planning and the components of "relative rank" and " Separation" in the functional system of the space are considered as negative indicators with a reducing effect on the performance of the space.

Evacuation modelling is a tool for measuring the performance of building design for safe evacuation of occupants during emergencies such as fires. The first evacuation modelling efforts date back to the mid-70s. To date, a wide range of evacuation models have been developed, with numerous problems having been studied in various scientific disciplines. In the present study, a database of 152 original papers was developed through a systematic search in the field of evacuation modelling, and their data was used to answer three key questions. The first question was that of the role of architectural design in the entire body of research. Architectural design issues are one of the five fields in evacuation modelling research being considered in a variety of scales in the design process. The second question was that of important elements of evacuation modelling. This was answered by data analysis. From the perspective of variables and their relationship, it was found that several elements have been considered as independent variables in evacuation modelling, with their design features being considered as measures to explain other dependent parameters. The third question was that of the relationship between architectural elements and other modelling parameters. When a modelling is aimed at evaluation of a design, the results can cause significant changes in the original design.Modelling methods are also relevant to the levels of design development. In early stages, macroscopic modelling can lead to the rejection or acceptance of a design alternative or schema, or demonstrate whether or not the design conforms to the required performance criteria. In more advanced stages, microscopic modelling is applied as a tool to make fine tunings of dimensions, configuration details and layouts of columns and furniture. The results showed that the swarm intelligence-based methods are the emerging field among microscopic models that can result in lower computational cost and more accurate results.

This article discusses the formation of the concept of "performance" and its expansion in urban studies, focusing on the rhetorical field of "city strolling" and the effect of this concept in forming new perceptions of the city and urban practices. The present research was conducted with the aim of evaluating the impact of the concept of "performance" in urban discourse and introducing its effectiveness in the study of urban phenomena and the design of urban public spaces.

The research method is qualitative. Based on library research, the formation of this concept and its effects in the field of urban studies have been analyzed.

City strolling (especially Debord's "Dérive") due to its internal capacities, has been the origin of the concept of performance, which has not only changed the relationship between the city and its residents, but also has been effective in the emergence of new practices and forms of behavior in the city. "Dérive" imposes elements such as play, show, intervention and situation to the city system and reads the city not based on the previous dominant narrative, but based on the experiences of the activists.

Special attention to daily practices and affairs, fleeting encounters, action processes and social interactions in the context of the city requires an approach that can decipher the functional logic of these activities. Performance, both as a kind of behavior and as a kind of analogy and efficient method, has shown and proved its potential in city studies.

Statement of Problem: 

The mosque, as a place of behavior, establishes a deep connection with its audience. This connection has been an inseparable part of the mosquechr('39')s function for many centuries from the emergence of mosques until today.
Numerous factors play a role in the audiencechr('39')s behavioral and perceptual experiences in man-made spaces, including mosques. Among these factors, changes in shape, variety of types and physical structure in mosques are involved in the audiencechr('39')s behavioral and spatial experiences. In the last decade, we can see an increase in the formation of neighborhood mosques in Qazvin, but unfortunately most of these mosques lack the vitality, dynamism and the desired presence of the audience and have only become prayer spaces, which makes it impossible to create a connection between space and audience.

Aim of the research: 

The purpose of this study is to explore the type of typology and body of mosques on the perception of the audience so that the spatial experiences of the audience are affected by the type of Carcio geometry, proportions, peer and class accesses and spatial hierarchy. On the other; The diversity and adaptability of activities and perceptual mediators affected by the body of mosques on the presence of the audience in the mosque have been studied.

In the research, first; Data collection, by recording events and fieldwork techniques, has been studied in three mosques with a traditional structure of the central courtyard and three mosques with a class structure in the city of Qazvin. Space with depthmap10 software has been used by using spatial layout indicators and since to evaluate the weight of components affecting how to perceive and behave qualitatively, the above method can not be used alone through the survey method and questionnaire design and data analysis by Amous22 statistical software Correlation analysis is performed and significant relationships are inferred between the involved variables.
The research findings indicate that the types and physical components of architecture such as; Distribution and interconnection, depth, spatial connection, arrangement and relationship of internal accesses to diversity, activity adaptability and also the type of audience perception according to perceptual mediators (needs and preferences of the audience) with the duration of the stop and the presence of mosque audience, create a strong and direct relationship.

Pray-for-rain ceremony in Iran is one of those which is performed individually or in group to ask for rain against the anger of nature. Since one of the effective mechanisms in keeping and promoting traditional ceremonies is recreation of them in the shape of modern arts, this research suggests the common aspects of performing elements in Hederse ceremony with Performance according . The dominant pattern in this article is the schechner theory about performance and its relation to the ceremony. According to this theory, the theater and the ceremony are the reflection of a common human activity. The art of performance is willing not to separate art and life, its all goal is the share which the audience should do to complete the performance in order to create it and finish it. Performance is the modern return of us to ceremonies which join art to life, traditions and custom. It makes interaction between human and nature. Schechner believes that if we mix a ceremony with a real event, we can use the best out of a group performance. Art of performance is responsible for ceremonies goals in our era. The method in this research is descriptive analysis. Library data and fieldwork are used to collect data. The results from this research show that there are common things between pray-for-rain ceremony of Hederse and art of performance in respect to elements such as performer, audience, time, atmosphere, accessories and music so that can be performed in the form of performance.

Performance art is one of the performance shows in post-modern art, which has special components. Features such as replacing the performance instead of the show, improvisation, the absence of a previous plan and scenario, the randomness of some elements of the play, the indeterminacy of time and sometimes the place, reducing the distance between the show and reality, and the serious presence of the audience are the characteristics of this type of performance. Between the elements of performance art and the Ashura performances that are formed by Shiites and Ashura mourners, a kind of closeness and kinship can be seen. In the Ashura performances performed by mourning groups and groups, palm twirling, flag twirling, chain swinging, chest swinging, machete swinging, financial flower, stone throwing, boiling ceremony, dinner of strangers, mourning groups and the like, which the mourners themselves are doing Ritual actions are examples of performance. In fact, these performances are not for show, but a kind of performance as if it is a religious and ritual act for the performers, and it is not merely a show, artificial and fake. This article is an attempt to express the similarities or differences between performance art performances and Ashurai performances and to compare a specific type of contemporary dramatic literature that has its own audience in the post-modern era with a Shiite ritual art. and also clarify whether it is legal from a jurisprudential point of view to display the character and face of the innocents and religious leaders in performing and performing arts.Drama and performance throughout the history of human life and in the history of art has been a way to narrate and retell the stories of human life, and man has always wanted those stories that are attractive and magnificent or bitter and It was sad, show it. For a long time, before cinema and television entered human life, the possibilities of narrating and narrating life stories were realized orally or through quotations, then through story writing, drama, and sometimes through visual arts such as painting. Storytelling was done. Therefore, the art of performance or in a new term, the art of theater has found a special place in cultural traditions such as ancient Greece, Rome and Mesopotamia. So that one of the most important arts of ancient Greece, as the origin of mythology, philosophy and literature of the West, is dramatic literature, and people like Aristotle, in his art of poetry, leans towards dramatic literature and fiction more than any other art, and discusses aesthetic issues in this context. Pay attentionBy examining library sources and written documents about performance shows in the postmodern era, as well as examining written and observational works of Ashurai performances, it is clear that many works have been written independently about these two performances, some of which The works in this article have been studied and cited. However, no work has been seen on a comparative study between these two drama traditions. In fact, the comparative study is the product of the measurement and evaluation between two issues, and in this article, an attempt has been made to examine the similarities and differences between these two categories of works in two cultural traditions. But there is no written work about comparative study and no one has addressed it.

In any architectural space, one of the most important issues is how to perceive and understand the body of architecture in the minds of the audience. Is it sound that every architectural body creates the same shape and perception of all human beings, or is there an essential difference in this matter? The main question of the research is what was the quality of this perception in the architecture of monuments?Research Question: What is the mechanism of the perceived quality of contemporary monuments? Which of the following components is more important in the quality of perception of contemporary monuments from the perspective of the audience of these works?

 The present study is a descriptive-analytical study that used a survey research design. The statistical population included architecture students of different universities in the country. The stratified random sampling method was used to determine the statistical sample size of Cochran's formula at the level of 0.05. According to the statistical population (1700 people) and the determined coefficients, the statistical sample size was 303 people. To collect data, a closed questionnaire was used. One-way analysis of variance and Pearson r correlation test was used for research analysis. According to the theoretical foundations and literature of the subject, in the present study, three general categories of semantic quality, aesthetic quality, and functional quality can be identified, each of which is divided into sub-components.The

 Regarding the dimension of identity and originality of semantic quality, the findings of the regression model show that the quality of mental aesthetics (0.42) and the quality of performance (0.24) have a considerable effect and causal relationship with the dimension of identity and originality of semantic quality. Regarding the sense of the belonging aspect of semantic quality, the findings of the regression model show that the quality of performance (0.32) and the quality of mental aesthetics (0.27) have the most effective impact and causal relationship with the dimension of sense of belonging to the semantic quality of the building. Regarding the readability dimension of semantic quality, the findings of the regression model show that the quality of objective aesthetics (0.41) and the quality of performance (0.34) have a considerable effect and causal relationship with the readability dimension of the semantic quality of the building. Comparison of the findings shows that the quality of services (ie security, strength, and services provided in the building) has a causal effect on all dimensions of the semantic quality of the building, among which has the most effective impact on the readability dimension of the building. But about the mental and objective aspects, the aesthetic quality of the findings is different. In this way, the quality of existing aesthetics has the most effective impact on the legibility dimension of semantic quality and does not have a significant effect on the aspects of originality and identity of semantic quality. While the mental aspect of aesthetic quality has a considerable impact on the dimension of originality and identity of semantic quality and does not have a significant effect on the readability dimension of semantic quality. Also, the objective aspect of aesthetic quality has no important outcome on the sense of belonging aspect of semantic quality. While the mental aspect of aesthetic quality has a significant and causal effect on the sense of the belonging dimension of semantic quality.

Fashion over time has affected our perception of other people’s bodies and has always changed the shape of the body. Since 1860, fashion designers have been trying to freely and creatively combine ideas from the fashion and art industries to come up with ideas that critique the impact and dominance of fashion on people’s lives. One aspect of fashion in combination with art was fashion shows, which flourished in the 1980s and 1990s and peaked in the early 21st century, drawing attention to the cultural values of clothing. · Victor and Rolf, Dutch designers, changed the proportions and shape of the body through clothing, emphasizing the connection between fashion and the show, In this way, they changed the boundaries of fashion, theater and film. Changes in the proportions of clothing and body shape in fashion shows affected the movement, direction and behavior of the models, So that the importance of clothing seemed more than human. The power of objects and their effect on human behavior and how to direct their movement in space is one of the significant cases in Puppet Theater. Therefore, in this research, an at- tempt is made to investigate the relationship between puppetry and its possibilities in Victor and Rolf fashion shows, using an analytical method and using Marc Jonson’s theories about movement, and to answer the question that fashion shows Critically, how can they be considered a puppet show? The results of this study include human puppetry through clothing in the company’s fashion shows and stated that when fashion shows approach puppet shows, they can be more successful in attracting audiences and use puppet theater as a medium for conveying criticism. Take advantage of yourself.

During the different periods of the contemporary history of Tehran, the volumes and urban sculptures of the squares have always had the characteristics that the discovery of what and why their presence in the urban space can help the aesthetic reading of the works. The first step in facilitating these readings and analyzes is the typology of the sculptures of each period based on their form and shape and function. The main goal of the current research is to investigate urban sculptures from the perspective of aesthetics (formology) and function. This research is considered practical in terms of purpose. The statistical population of the current research is the sculptures and urban elements of Tehran during the 80s and 90s (219 sculptures). 20 samples have been selected for analysis.By examining and typifying the works in the 80s and 90s, it can be said that the types of non-figurative sculptures include a variety of works, which can be divided into subgroups of architectural volumes, volumes of Geometric and written volumes. Figurative human sculptures are also classified into real and imaginary subgroups. Imaginary sculptures include works that, despite the human form, do not have an example in reality and are made based on mental imaginations. In the 80s, the largest number of statues belong to imaginary statues (celebrities), but in the 90s, we are faced with the spread of real statues of scientific figures and martyrs of the Islamic Revolution and war. The results indicate that in the 80s and 90s, most of the sculptures were figurative. Also, the main functions of these urban sculptures include raising the level of society's awareness (transmitting cultural and religious concepts and values), creating visual beauty, giving identity to a place, inducing a sense of place, evoking special events, retelling culture and showing religious affiliations. and value, strengthening and intensifying the centrality of the square, giving meaning to the naming of the square or place, creating an urban sign and symbol, and creating a sense of belonging and peace.

Today, the important and role of urban furniture is an essential component of cities. The purpose of this study is to evaluate the performance of urban furniture in improving the quality of environmental graphic in Sadeghieh neighborhood of Tehran. The methodology governing the research is descriptive –analytical and in terms of purpose is applied research. The method of date collection in the present study is documentary-filed and has been used to develop theoretical foundation and extract research indicators in the form of a questionnaire to improve the quality of environmental graphics. In analyzing the research finding, statistical test in the form of Spss software have been used to investigate the factors affecting urban furniture in improving the quality of environmental graphics. In analyzing the research findings, factor affecting the performance of urban furniture such as physical factors (10 items), economic factors (8items) and social factors (8items) have been used. Coefficient was used to investigate the relationship between the criteria. The results showed that there is a direct correlation between two social and economic criteria with 95% confidence. In calculating the correlation between economic and physical dimensions, since the significance level of the relationship between these two criteria was less than 0.01; therefore, it can be said that is relationship between the economic and physical dimensions with 99% confidence. The results of multivariate regression calculation between independent variable and dependent variable showed that there is a linear relationship between independent and dependent variable.

Distancing or alienation that forms the basis of epic theater is actually using actions or reactions by the actors or the crew that are done deliberately to prevent the audience from identifying with the characters of the story and emotionally being engaged in events and divert their beliefs from the reality of what they watch on stage. This is done with this aim that the viewers are not losing their awareness of the current situation and putting them through thinking and reasoning about the hidden message of the play. But Is distancing with such an approach and goal used in Taziyeh? Isn’t the audience supposed to identify with the epic characters in Taziyeh? Is the sacred distance of the epic characters in Taziyeh with the audience an obstacle for identification? There is a basic difference between distancing in Taziyeh and distancing in epic theater. Like the epic theater actors, Taziyeh actors never equate themselves with the roles. But the main point which distinguishes this type of distancing with the Brechtian one is the difference in the aim and meaning of the form. In fact, Brecht uses this alienation for diverting the audiences’ emotion and to awaken their mind and judgment, but Taziyeh has nothing to do with Brecht-type rationality, and as it focuses on rational thought and concepts, it seeks to arouse emotions as well. Alienation in Taziyeh occurs only because Taziyeh performers never consider themselves that qualified and worthy for the role of saints _ protagonists_, and if they get the villains _the antagonists_ roles, they believe they are eternally cursed. In fact, the alienation and distancing of the performer with the role similar to the role is completely rooted in religion. While the alienation of epic theatre is rational and revolutionary. Distancing is one of the reasons for Taziyeh attractiveness and it causes the expansion and permanence of this national and religious play among people. Unlike West theater, Taziyeh subject is not from the real life and ordinary people, but the themes and characters do not allow the writer, director and performers to think of making the play seem real and natural; So that in Taziyeh, the distance between Karbala event and what is shown, and the distance between the roles _Imams and the Infallibles_ and the performers is always clear. But what causes this separation and distance in Taziyeh is the religious belief of the writer, director, performer and in general all the involved people.

What is very important in determining the development goal of countries is the study of rural management and its performance in rural planning from the bottom up. Dehyari, as the main organization of rural management, has an important and effective role in achieving sustainable rural development. This development largely depends on the satisfaction of its members. Therefore, no development can take shape without the participation, satisfaction and social trust of the villagers. Therefore, the aim of the present study is to evaluate and analyze the satisfaction of villagers with the performance of rural areas, in terms of descriptive-analytical nature and in terms of practical purpose. Data were collected in two methods field and library. Its statistical population consists of three cities of Azna, Khorramabad and Kuhdasht of Lorestan province. 344 villages were selected based on three indicators: spatial distribution at the city level, Dehyari degree and Dehyari establishment history. Villagers' satisfaction with the performance of villages in the three areas of basic and functional functions, motivational function and service quality (reliability, responsibility, physical dimension, management style and empathy), studied and using Kano model, evaluation of service quality gap and Spss software was analyzed. The results show that the highest satisfaction of the residents of the study area is: reliability, responsibility, physical dimension, management style, motivational function, basic and functional function and its lowest satisfaction, respectively. is the sympathy of the villagers.

Rural management in Iran, after many ups and downs, began a new experience with the formation of Islamic councils and the establishment of the Dehyari institution. Now that almost two decades have passed since the beginning of the new model of rural management, Due to the multiplicity and dispersion of villages on the one hand and issues and problems related to equipment, empowerment, economic efficiency of providing services and... On the other hand, Rearranging the current pattern is essential. And in this process, measuring the satisfaction of the villagers as the main stakeholders is important. The present study, which aims to evaluate and analyze the satisfaction of villagers with the performance of rural areas, It is descriptive-analytical in nature and practical in purpose. Research data were collected in two methods field and library.The statistical population of the study includes all cities of Qazvin province. One or two sections of each city have been selected taking into account the indicators of spatial extent and the number of villages with rural areas. In the next, according to the number of villages with rural areas, the target villages were randomly selected. A total of 427 questionnaires from residents of 40 villages in Qazvin province have been completed. Villagers’ satisfaction with the performance of rural management (Dehyari) was analyzed in three dimensions of functional requirements, basic requirements and motivational requirements and in eight components related to these dimensions, using Kano model, service quality gap assessment and SPSS software. The results of the research show that the highest level of satisfaction in the three dimensions mentioned was related to the dimension of performance requirements and then related to the dimension of basic requirements and the dimension of motivational requirements, respectively. Also, among the nine sections studied from the six cities of Qazvin province, the best level of satisfaction with the performance of rural areas is related to the “Dashtiabi” section of “Buin Zahra” city, “Tarom Sofla” section of Qazvin city and “Ziaabad” section of “Takestan” city. The lowest level of villagers’ satisfaction was related to “Beshariyat” section of “Abiek” city and “Ramand” section of “Buin Zahra” city

Existential semiotics, a new theory stemming from combination of classical semiotics (Paris school) and continental philosophy, has led us to two notions of transcendence and – zemic. By zemic we understand four modes of being (Hegel) interpreted via the categories of Moi and Soi, inserted first to a semiotic square and then dynamized by two movements of sublimation and embodiment. A new model for music analysis grows from this starting point. In the background loom the two ways of transcending: transascendence and transdescendence (Jean Wahl), which appear as gestures of musical discourse. Ultimately this is close to the ’breathing of the hand’ at the piano playing method by the Parisian teacher Jules Gentil. Moreover, historically, the idea occurs also in some notes in the Brown Book by Richard Wagner referring to Indian Hindu philosophy. This has its consequences in the whole of theory of existential semiotics as a metaphysical system.

Marina Abramovic, a Yugoslav artist in the field of conceptual art, has been creating works of “art” since the early 1970s. By focusing on her body as the subject and mainstream of her art, she has taken a different approach to the audience in her performances. In his phenomenology of perception, Maurice Merleau Ponty also discusses the “other” in the context of a “body” experience. He has been a philosopher of phenomenology and existentialism of the twentieth century and considers modern art to be the emerging world that has created a different perspective for the artist and audience. The purpose of this research is to explain the concept of the audience with the phenomenological approach of Maurice Merleoponti, based on the concepts of “ Embodyment “ and “Other” in Marina Abramovic’s performances, titled “Zero Rhythm” and “Artist Present”. Data collection was done through library resources, videos, and reputable internet sites. This research answers the question of what does the audience mean in Marina Abramovic’s performances? The importance of this research is to create a different understanding of the concept of audiences by artists who try to position themselves in the audience instead of preparing content for the audience to change their “level of awareness”. This further enriches the meaning and deepens the viewer-performer relationship. One of the most important findings of this study is that according to Maurice Merleoponti’s definitions of the “other” of the audience becomes a tool for audience action through the interplay of art and artist, and this is a factor of meaning and awareness for the artist himself.

If we consider the concept of ritual ceremonies and festivals throughout the history of theatre, the birth and core of all productions begins with ancient Greece and Aegean civilizations and the influential number of tragedies and comedies, such as the plays of Euripides, Aeschylus, Sophocles and Aristophanes and others, which have come to us from that time. There have been many continuous studies on Greek theater, ritual ceremonies, myths, Philosophy and so on; however previous studies focused more on the content, concepts, structures and philosophy of Greek plays while fewer studies have been conducted and focused on the modality of the scenic designs of these works. For example, construction of stage, styles of stage design, the painting of Pinakes (flats) and Priaktoi (Three dimensional volumes and prisms used on the stage), the most famous of stage designers and painter of scenes. Because of the nature of set designs and theatrical scenery which with the completion of each show is dismantled, there are limited written and visual resources and documentations in this field. However, by investigating the plays production venues, available limited resources and new discoveries of archeological sites, we can reach discern significant and relevant results in this regard. Aeschylus was considered as one of the greatest ancient Greek playwrights as a poet who according to many scholars was the first tragedy writer in the history of the theater. Many scholars of theater have known Aeschylus only as a tragedy writer even though he is credited with several innovations in regards to directing and dictating complete details in his plays. Increasing the number of actors from one person to two, reducing the importance of the singers’ presence in the plays and bringing up dialogs between actors are considered totally as Aeschylus’ innovations. However, by checking the scenes of his plays and paying attention to the fact that Aeschylus draws his own plays on stage, perhaps he could be considered one of the first scenic designers in theater history. Whereas in ancient Greece there was no scene designer and the artist was known as the scene painter. This study tries to explore Aeschylus’ role in the development and promotion of the ancient Greek theater design via review and research of his plays and written references around him and Greek theater; a known form of scenery that continued alongside the Classic and Hellenic architecture for centuries and its structures and systems continued up to the Renaissance and even centuries later. In this study, several articles and books written in this field have been applied and identify Aeschylus in the scenery of the Greek theater as one of the first scene writers for theater history, while studying the role of and attempting to emphasize his importance in regards to play writing and introducing a new face to his audiences. In this research, historical and analytical methods have been used to direct us to the magnificent of the Ancient Greeks and the continuous credit and influence that they continue to have on modern theatre.

Musicians practice to gain technical proficiency, learn new repertoire, develop musical interpretation, memorize music, and prepare for performances. Achieving high levels of musical expertise requires considerable practice; attainment simply increases with practice and, consequently, the accumulated practice time can directly predict achievement, increase the chance of success and reduce performance anxiety. The amount of practice is important for increasing the academic performance of students in performance program but, the efficiency of practice is vital in this process. Unfortunately, performance students usually don’t receive specific education for increasing practice efficiency and choosing appropriate strategies of practice. This study investigates the correlation between hours of practice and performance anxiety, and academic achievement among Western classical music performance students of University of Art. In this correlational-descriptive study, 102 performance students enrolled in second to eighth semesters were selected in December 2016. The sample includes 46 female and 56 male (mean age = 21.6 years, SD=4) students. They had musical instruction for mean (SD) time of 9.29 (3.9) years. Demographic data were collected via self-reported component questionnaires. Furthermore, validated Osborne-Kenny music performance anxiety inventory questionnaires (15 questions) were used in order to assess the quantity of student’s performance anxiety. Then, the data were supported by validated Spielberg state-trait anxiety inventory (40 questions). Calculated Cronbach’s alpha showed high internal consistency reliability of both inventories (α= 0.9). Finally, academic achievement calculated by overall means of the performance scores in ensemble, instrumental lesson, orchestra and principles of performance in the past semesters. The data were analyzed by SPSS-22 software, using Pearson correlation coefficient, independent t- test and multiple linear regression with significance level 0.05.  The results showed, the mean (SD) of student’s performance anxiety scores were assessed 47.8 (15.09) and state and trait anxiety scores were calculated in order 44.07 (14.4) and 43.2 (11.8). The mean (SD) of academic achievement scores was 15.7 (1.9), and students had 20.6 (8.6) hours of practice per week. Among students, 66 persons had daily practice and 36 students did not practice every day. There was no statically significant relationship between amount of practice time and performance anxiety. In addition, the statically significant relationship between weekly hours of practice and state-trait anxiety was not found. Furthermore, statically significant relationship was not found between weekly hours of practice and academic performance. The independent t-test revealed that there were no significant differences between students who have daily practice and other students in academic performance, performance anxiety and state-trait anxiety scores. Multiple linear regression showed the demographic characteristics such as age, gender, years of musical instruction, and hours of practice were not statically significant variables for predicting academic achievement. However, among these variables, years of musical instruction was marginally significant (P=0.06). With a deductive overview, results showed students’ hours of practice were not considerably effective on increasing academic achievement and decreasing performance anxiety. According to the above mentioned, learning strategies for deliberate practice may be beneficial. Hence, adding a course with the purpose of instructing deliberate practice and learning true practice strategies in the curriculum of Western classical music performance was recommended.