چکیده:
Iranian ethno music which undermined during Pahlavi regime under modernization policies inclined to western culture and art, raised again after Islamic revolution and was focused by artists and researchers. The main question of the paper is; How the elite oriented toward ethno music during post revolution thought transformations? The main aim is describing the importance of ethnicity art and ethnomusicology studies in Iranian contemporary music in the viewpoint of music experts. As cultural-artistic or artistic magazines represent the thought approach toward ethno music, this paper by analyzing the constructed themes in these magazines has shown the thought foundations of elite viewpoints toward Iranian ethno music. The research is based on thematic analysis. The research sample consists of 10 cultural- artistic or music magazines including; “Honar quarterly”, “Golestaneh”, “Soureh”, “Adabestane Farhng & Honar”, “Asre Adineh”, “Magham”, “Adineh”, “Donyaye Sokhan”, “Kelk and “Mahour”. These magazines have studied on the music after Islamic revolution. The data extracted from the mentioned magazines based on purposive sampling and the process of data collecting continued till data saturation. Saturation is a core principle used in qualitative research. It is used to determine when there is adequate data from a study to develop a robust and valid understanding of the study phenomenon. Saturation is applied to purposive (nonprobability) samples, which are commonly used in qualitative research.The findings show that 3 general approaches toward music was formed in the mentioned magazines:1. The centrality of western music and absence or peripheral situation of ethno music 2. The originality of ethno music and religious approaches toward this kind of music 3. The originality of ethno music and it`s recognition through ethnomusicology studies.
خلاصه ماشینی:
The article Ethnomusicology, a cognitive review and proposal of two research models, addressed the scientific aspect of music, which also considered ethnomusicology (Fatemi, 1999, No. 39), and the translation of an article on local music and the necessity of collecting it (Béla Bartók, 1999, No. 39) are among the few evidences that focus on folk music in this magazine, but this approach was not very durable and 18 The construction of Iranian folk music in cultural and artistic journals (1981-2001) The study of Western music, such as the article on scientific music in the 20th century (Kamal Pourtarab, 2001, Art Quarterly No. 48), was more numerous.
Similar to Adine, the rejection of classical Iranian music was also pursued in Donya-ye Sokhan based on such an approach; for example, “Traditional music has not evolved and has maintained its previous general form, but a new type of music, especially in the early years of the revolution and with the activity of the Aref and Sheyda group, has emerged that 25 26 Sociology of Art and Literature, Volume 14, Number 1, Spring and Summer 1401 can be considered national music… Traditional music belongs to past generations and cannot meet the needs of the current generation” (Kamkar, 1988: 24-26).
Thus, Mahour magazine studied the various dimensions of Iranian music in two sections: “Classical Music” (also called authentic or traditional) and regional (or ethnic) music, through research articles, authored or translated (some articles were written by non-Iranian authors for this publication), studying, introducing, and representing its characteristics (principles and foundations, history, reference texts and treatises, prominent figures of old and new, etc.
(
, 
, 
)
