Abstract:
Radio is one of the media that, due to its 'auditory nature,' has special characteristics. Four elements—speech, music, effect, and silence—are the constituent elements of radio, each of which is effective in influencing this medium with a special approach. Among these, music has a special function; it can both complement other elements and, independently of other elements, be the source of influence for this auditory medium, especially in the drama genre. This article, by analyzing the capabilities of Mazandaran's indigenous music through qualitative methods and using in-depth interviews, specifically examines 'Amiri Khani,' which is rooted in the ancient beliefs of the people of Mazandaran. In this type of music, there is a wonderful interaction between performance and the poetic music of Amiri Khani. This melody is played with a specific instrument of the Mazandaran region, namely 'Laleh Va,' and contains a romantic narrative that creates atmosphere, situational creation, characterization, and musical action, forming the impact in the performance. This impact is doubled when it aligns with the narrative that exists in the minds of the audience.
Machine summary:
Dramatic Capabilities of Mazandaran Local Music in Radio Programming (Case Study: Amiri-khani and Allah-va Music) (Date of Receipt: 1398/4/5, Date of Acceptance: 1398/6/16) 1 Seyyed Majid Mohammadi Sekandeh 2 Hassan Khojasteh Abstract Radio is one of the media that possesses unique characteristics due to its "auditory nature.
This melody is played with a specific instrument of the Mazandaran region called "Allah-va" and contains a romantic narrative that creates atmosphere, situational context, characterization, and musical action, forming the shape of influence in the performance.
The main indicators of auditory and performative factors, with the mutual effects of musical melody on each other, can show new capacities of musical function, especially local music, on radio plays in a specific geographical region that is influenced by a particular culture.
" Since Amirikhvani inherently contains the romantic narrative of "Amir and Gohar," its dramatic capability is clearly evident from the perspectives of "imagery and atmosphere building," "narrative," "conflict," "suspense," "scene arrangement," "progressive and introductory dialogues," "imagination," "melody and sound," "romantic element," and so on.
" (Ibid: 80-81) The "Lalehva" instrument is used to play melodies such as: Amiri-khwani, Katuli, Kashti-maqoum, Bursari 1, Kamersari 2, Kele-hal 3, Noqre-sari, Selek-hal 4, Cheragh-hal, Mesh-hal, Terike-sari 6, Jeloyi 7 (Joloudari), Sama-hal 8 (Raqs-maqoum), Valgeh-sari 9, Gharibi, Hame-re-bordan, Yaghi-bourde, Kerdeh-hal 10 (Chepon-hal) and parts of songs.
Asadollah Emadi, a researcher of the literature and local culture of Mazandaran, poet and author of the book "Legends of the People of Mazandaran," writes in the book "Melodies of the Rainy Land" about the narrative characteristic of Amir poetry, especially the performance of this poem in the Shur and Dashti dastgahs: "There is no doubt that Amir Pazvari was a poet of pleasant poems.
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