نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی
پیاپی 76 (زمستان 1401)

The study of music in a specific cultural context requires that the ratio of music to the culture under study (the ratio of the part to the whole) be in the center of attention. The characteristics and components of the traditional and local markets of Guilan province are significantly influenced by the culture that governs this geography, and factors such as the physical structure of the central markets, the order established in the weekly markets, as well as hand-selling and display, lead to the formation of a tradition in accordance with the resulting cultural components. Has been the mentioned tradition, which is presented by the sellers, in the form of singing and using audio-musical capabilities, is considered a practical tool and possibility for product promotion at the market level. The economic relations governing the market have always been influential in the formation and type of human interactions between the supplier and the applicant. In the meantime, markets with a traditional structure and texture - in addition to following conventional economic relations - due to factors that often entered the markets through the channel of the cultural order established in the society, create situations and conditions that range from human interactions to the regularization of levels related to They affect the physical structure of the market. This article, with the aim of reviewing, formulating and analyzing the songs of the sellers of the Grand Bazaar of Rasht, based on the concepts of "use" and "function", aims to answer the question of what uses and functions these songs have in the market context. The data collected in line with the objectives of the research include recorded sounds and images, conversations with market sellers and customers, as well as field observations. In this article, by adopting a functionalist approach, the "uses" and "functions" of market sellers' songs have been identified and formulated based on the definitions provided by Alan Merriam of the concepts of use and function. Therefore, the main question in this research, relying on the two concepts of application and function, is focused on the issue of what are the uses of the Jār-Āvā phenomenon as a tool that is used by sellers in the first place, with the purpose of informing and promoting goods, in the context of the market. And it has functions. The findings of the research show that the application of this audio-musical phenomenon in the market includes the four axes of "news", "advertisement", "performance" and "recitation" and the function of the mentioned songs, in eight axes which include "establishing communication", "Symbolic presentation of concepts", "expressing feelings", "aesthetic pleasure", "entertaining", "accrediting social institutions", "helping cultural continuity and stability" and "helping the integration of society" can be formulated. The data used in the present research was collected in the period between 1395 and 1400, and the method of data collection was through audio and video recording, field observations, and library studies. The collected data have been studied using the descriptive-analytical method and referring to library sources.

Qashqâyis were nomads who migrated to the southern region of Iran and formed a single ethnic group; a tribe consisting of Turks, Kurds, Lors and Arabs.  Since the majority of this tribe were Turks, the main language of the Qashqâyis was Turkish, from the Caucasian Turkish language root. The provinces of Isfahan, Chahar Mahall Bakhtiari, Kohkiluyeh and Boyer-Ahmad, Khuzestan, Bushehr and most importantly, Fars constitutes the Qashqâyi regions of Iran. In the past, the Qashqâyi society was a hierarchical society consisting of different social classes and the Ilkhâni family was at the head of this hierarchical system, and led the tribal affairs, thus distinguishing this tribe from others. In this hierarchical system, musicians were placed in the lowest social classes. Music has always been present in all social classes of the Qashqâyi tribe. Qashqâyi musicians include Âshiqs, Changis, Sârebâns, non-professional musicians, and women, each of whom, have their own repertoires. The Âshiqs's repertoire is one of the five repertoires of the Qashqâyi musical culture that has undergone many changes. The Âshiqs migrated to Fars from the north-west regions and joined the Qashqâyi tribe. They, who were from the lowest social classes, joined the Qashqâyi tribe. With the support of the Ilkhâns, the Ashiqs improved their art and made changes in their repertoire. Eventually, with the disappearance of the Ilkhâni system, this musical tradition also declined. The Âshiqs performed music and were financially supported by the Ilkhâns. In fact, the musical life of the Âshiqs depended on the presence of the Ilkhâns which collapsed with the abolition of the Ilkhâni system. There have been many acculturations and changes in the music of Qashqâyi Âshiqs. Most of them have their roots in the hierarchical system of the tribe and have emerged in such a cultural context. In the hierarchical system of Qashqâyi society, elements were often accepted and preserved in this musical culture which were approved by the upper class of this society. In fact, changes in this music have often been accompanied by the presence of people from the upper classes of this society, serving as an authoritative body in regards to the changes in the musical culture of the Ashiqs. The change in the living conditions and the urbanization of the Qashqâyis isolated the Âshiqs and their repertoire, over time, diminished and eventually was eliminated from Qashqâyi music. In fact, lifestyle changes brought about many changes in this musical culture and caused a large part of the musical experience of this repertoire to diminish and disappear; most of these changes were influenced by intercultural influences. This study, which introduces the Âshiqi's music of Qashqâyi and examines the acculturation in this repertoire, is based on fieldwork in Qashqâyi regions and interview with Qashqâyi musicians and aims to introduce and study the changes resulting from cultural encounters in this music.

Contemporary world can be considered as the age of pluralistic identities. Identity, as one of the most important concepts in the field of nation’s socio-cultural studies, has been analysed for many years. Dramatic literature and drama are the subjects to represent the sense of being in the suspended no-where; a place between reality and meta-reality that alongside running discourse Logic, follows heterotopia structure. Questioning about identity is one of the most fundamental questions in life which by that, people and society; from micro to macro scale present an image of what they are or what they need to be. At the individual scale, identity is the gate of entering the social world, whilst it is also the tool of survival, development and prospect among other societies in macro scale. In retrospect, the experience of immigration and diaspora would have dramatically affected contemporary identities. In this regard, predicting the new identity’s side effects are a bit problematic because the roots of preceding identity were traditions and practices, and based on their long history, those traditions were resistant. Due to a lot of changes brought by modernity and then post-modernity with more intensity, contemplating the consequences (positive or negative) of issues have become more unpredictable. Iran has been a focus of research but in comparative identity field, especially in art and dramatic literature, there seems to be a shortage. In this qualitative research with concentration on identity in dramatic literature, mutual concepts of selected plays from two generations of Iranian and non-Iranian playwrights (Akbar Radi and August Wilson, Mohammad Charmshir and Shelagh Stephenson) are used in a comparative study of contextual theory formwork through axial coding and. Also, according to Stuart Hall's point of view in the category of identity and representation, these findings were re-read. Hall believed that cases existed by which media did the opposite and instead challenged the status quo; as a result, audiences did not always interpret the messages in the ways intended by the producers. Arising during the late nineteenth century, early media theories were developed in a historical context, often referred to as the era of mass society, when industrialization was on the rise and societies were transitioning from predominantly agrarian lifestyles to a more commercially centered industrialized structure based around the growth of large cities. The transformations of the industrial era were far more than economic, giving rise to changes in every aspect of daily life, including social structures and interpersonal interactions. The result suggests that the features of identity in both groups and generations are similar or even equal. Although there are some un-mutual features which are unavoidable, there is no meaningful difference between them. In the construction of identity, those selected Iranian and non-Iranian dramatists have used the common components of language, collective memory, place, lifestyle, culture and its confrontation with another culture and, politicaliziation of the body. The only significant difference between the components is in the lifestyle and geographic origin of the plays.

The relationship between tragedy and evil is of utmost importance. Some experts believe that the emergence of tragedy depends on the occurrence of evil. Based on this belief, the formation of tragedy, is a kind of bilateral, organic and dialectical connection and relationship, and without the presence of the evil force, basically, tragedy does not occur. It is important to note that the presence and existence of evil in drama is not occasional, self-willed and not selectable; also between the evil and especially the moral evil and tragedy there is this particular bond. In the present research, two plays Oedipus Rex and Macbeth have been selected from two different periods in the history of dramatic literature, i.e., the fifth century BC in ancient Greece and the Renaissance or Elizabethan era in England. The main focus of this article is on the nature and mechanism of evil in each of the aforementioned works and how tragedy is organized by the power of evil. In the play Oedipus Rex, the main character unknowingly commits a mistake. He kills his father and marries his mother, which causes the wrath of the gods and the descent of the plague. But Oedipus is unaware of this and it is actually the gods who have determined this fate for him. Therefore, his moral evil causes natural evil, but Oedipus cannot be blamed for all this. In Macbeth, pride and ambition are the main character's weakness. He commits crimes to gain power: he kills the king and then commits other crimes. Although Macbeth, influenced by the witches preditions and his own wife's temptations, commits these crimes, his individual responsibility and will determine the most important aspects of this crime. Shakespeare's view in this play is influenced by the view of Christianity, in which the problem of sin and moral evil is the basis of subsequent sins. On the other hand, women in Macbeth, like Eve, who affected Adam to be expelled from paradise, bring Macbeth to ruin and destruction. In other words, the female gender in this play is associated with seduction and temptation, just like Christianity's view of women.  Shakespeare's works can also be measured by the principles and methods of the neoclassical school. In the first scenes of the play, images of light and brightness are used more, and in the end, images of night and darkness. The whole play is a confrontation between these two ideas in the form of a war between good and evil forces. The image of "darkness" casts a shadow over the entire play. The research method is analytical and descriptive, and by examining the type of evil in each tragedy, it was concluded that in ancient Greece, evil was a concept based on the mythological world and belief in gods and related to the concept of fate and destiny. However, in the Elizabethan era, the religious concepts of Christianity focused evil on man and his inherent nature.

Since its inception, cinema, has been an ongoing process of creative development. Initially, it was a means of recording reality, but gradually the role of imagination became prominent. Over time, the role of reality and imagination in films became more distinct; films were organized and divided into two genres: feature or fictional films and documentary or real films. Each genre has grown such that they have their own followers and audiences. Filmmakers have expressed and implemented various innovative and exquisite methods in narration and form, in order to create styles in their works, and to entice audiences, critics and artists. Cinema is a phenomenon whose survival and future have been repeatedly questioned, but undergoing significant transformations within the industry, it is constantly redefining itself with new forms and creative processes. The historical course of cinema and the numerous examples indicate that this transformation has taken place with a variety of managers, filmmakers and creators, thus expanding their efforts with every possible method. Having purposeful methods in classical, modern and postmodern periods has led to the emergence of various attractions and dynamic presence of this media for more than a century. This continuous development over time has created a special idealism that has allowed cinema to remain an attractive and novel media among audiences. Its audience could have been gone long ago, if cinema wasn’t a dynamic media and if it had been repeating its classical formulas over and over again. Cinema is an art that has continuity, and dynamism with a constant relationship with either the society as a whole or the individual, thus connecting on all levels with its audiences. An audience may occasionally seek to be immersed in his/her imagination and to escape from social realities and maybe sometimes he/she seeks to understand real things through watching different genres and styles. Today's world is going toward redefining concepts and old limiting definitions are no longer held accountable. New filmmakers have broken the boundary between reality and imagination in order to make their works believable, and with different intellectual and ideological approaches they are trying to make new aesthetics visible in their works. The two-way cinema relationship depends on permanent environmental change that is affected by technology, ideology and media literacy; hence, cinema has become a fluid and dynamic media. This research was conducted with a fundamental purpose and the feasibility studying of the presence and interaction of the audience in the world of film and cinema. This content analysis method study is done through reviewing and interview method by gathering information from library resources and audiovisual archives. The result of this study shows that the audience is influenced by factors such as identification, credibility and pleasure that has a special status in each era and is influenced by the cultural, economic, political, and other factors. Thus the audience willingly or unwillingly places himself/herself in the film-world and tries to turn his/her presence into a more interactive and conscious one.

Music reflects a strong cultural tradition in Kurdistan province, which is passed down orally from generation to generation and bears a collective character. Narmeh Nay, an aerophone and one of the main musical instruments in Kurdistan province and the Mokryian region, has gained popularity over the last fifty years and is widely used in celebratory occasions to perform Gorani. The exchanges among musical culture of these regions with other cultural fields, such as other Kurdish speaking areas and Iranian, Turkish, and Arabic music, have resulted in the expansion of the repertoire of this instrument along with the emergence of new platforms for performance, such as concert halls and studio recordings. In the last few decades, the emergence of radio and the production of new songs, inspired by Kurdish music culture blending with Dastagahi music and traditional cultures, has led to the composition of new Goranis that correspond to the modal systems of Homayoun, Mahor, Chahargah and Isfahan. In the past, it was not possible to perform these Goranis with the previous intervals and playing techniques of Narmeh Ney and Sorna, which were the main melodic instruments in their ceremonies, not to mention that the musicians were also not equipped to accompany other instruments or singers. As an example, the introduction of new instruments, such as Synthesizer and Divan, in wedding ceremonies where Narmeh Ney and Sorna are traditionally performed, has introduced challenges to these musicians. Additionally, regarding the performance venues of Kurdish music, the cultural exchanges that have taken place in recent decades, have led to the introduction of new possibilities and contexts, such as concert halls, for the presentation of music in the urban environment of Kurdistan.These cultural exchanges, as well as new platforms for Narmeh Ney players to perform music, have made a significant impact on the musical traditions of the Kurdistan region. To adapt to these transformations, some musicians have changed their playing techniques and the instrument’s structure in order to be able to accompany other instruments or find a larger audience. Using established theories of "acculturation," and its impact on instrument changes, this article examines the cause and transformation of this instrument in the music of Kurdistan province. This research demonstrates that as the result of cultural exchanges, such as the introduction of new instruments in the region, the performance of Kurdish music in orchestral form in concert halls, and the need to accompany other instruments in new venues, Narmeh Nay has undergone some major transformations. These major changes have led to a rising prevalence of using Narmeh Nay in musical performances across the Kurdistan province. This research has benefitted from qualitative methods to collect and analyze data. Weaving together participant observation, in-depth interviews, and archival research, this study aims at explaining the transformation of this instrument in light of these exchanges, taking into account the performative culture of this instrument as a dynamic phenomenon. In order to explain the potential scale of Narmeh Ney, the natural sounds were first extracted and analyzed, and then the variable and added melodies were written using new techniques.