چکیده:
This article attempts to provide an image of the prevailing music discourses in Iran by examining the state of music and the thoughts and positions of the country's musicians. The importance of examining music discourses lies in the fact that it seems any cultural policymaking and any way for the growth and promotion of music in Iran is possible with respect to these various discourses and their multi-discursive existence.
خلاصه ماشینی:
This discourse maintains that with the help of Western styles and instruments, a type of national music can be formed that also utilizes traditional Radifs and instruments.
However, this discourse seeks to create a combination of Western music and Iranian music (or in other words, traditional music).
Western Music Discourse This discourse maintains that Iranian music (so-called traditional music) was suitable for the past in terms of instrumental capabilities (low sonority) and content (being sad) and no longer has suitability for the current era.
" This discourse maintains that Western music (especially European) has had the opportunity and luck over four hundred or five hundred years to reach a specific scientific system in music production and education.
singing and playing styles, various ensemble playing methods, imitative forms from the West (such as march, waltz, polka, prelude, etude, and fantasy, which were even used by some famous traditional musicians), the entry of Western instruments into Iran and their use for performing Iranian music, the formation of chamber and symphonic orchestras, opera and ballet groups, music schools and educational methods, composition and notation, and even research methods.
Of course, in a sense, it can be said that we are now witnessing a kind of alignment between the supporters of scientific/Western, hybrid, and traditional discourses on one hand, and pop music discourses on the other.
A Look at the West: A Discussion on the Influence of Western Music on Iranian Music, Tehran, Mahoor Cultural and Artistic Institute, 1994.
A New Perspective on Iranian Music Theory, Tehran, Mahoor Cultural-Artistic Institute, 1993.
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