پردیس هنرهای زیبا دانشگاه تهران نشریه هنرهای زیبا- هنرهای نمایشی و موسیقی 2228-6012 21 2 2016 11 21 Aestheticism of Framing and Deframing in Iranian Cinema 2001-2011 زیبایی‌شناسی قاب‌بندی و قاب‌زدایی در سینمای ایران دهه80 5 14 59693 10.22059/jfadram.2016.59693 FA سجاد ستوده کارشناس ارشد سینما، دانشکده هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران میلاد ستوده کارشناس ارشد ادبیات نمایشی، دانشکده هنر، دانشگاه تربیت مدرس، تهران احمد الستی استادیار گروه هنرهای نمایشی، پردیس هنرهای زیبا، دانشگاه تهران محمدجعفر یوسفیان‌ استادیارگروه ادبیات نمایشی، دانشکده هنر، دانشگاه تربیت مدرس، تهران Journal Article 2014 04 07 Framing is a very important subject in picture aestheticism. This contains a capacity which might be investigated through different approaches, and the film-makers have used this method to improve the visual aesthetics of their works. But, despite the importance of this subject, rare studies could be found along with their works based on the framing and its different dimensions inside Iranian cinema. This article is trying to investigate the framing aesthetics and its visual capacities through a descriptive-analytic approach. Therefore, at the first step, eight movies amongst the works produced from 2001 to 2011 in Iran, have been chosen as the statistical domain of the research: Killing Mad Dogs (Bahram Beizai, 2001); Bright Nights (Farzad Motamen, 2001); Gavkhooni (The River’s End) (Behrooz Afkhami, 2003); Green Fire (Mohammad Reza Aslani, 2007); Day and Night (Omid Bonakdar & Keyvan Ali-mohammadi, 2008); About Elly (Asghar Farhadi, 2008); A Walk in the fog (Bahram Tavakoli, 2009); A Seperation (Asghar Farhadi, 2010). In the beginning of the research, the concept of framing and its developing process are stated so that the artist’s approach towards framing becomes clear. In regard to this, we continue to discuss the painter’s approach towards the frames and then we’ll talk about the dominant approach throughout the renaissances. In this section, a transformation in the attitude towards frame edges is shown in the various works of the painters who shift their focus from the center of images to their edges. Then, on-screen pictures are referred to. That is, the analysis based on the pictures which are formed inside the frame edges and some scenes of the chosen movies are stated so that the discussion becomes clear. Deleuze’s ideas about the saturated and rarefaction images have been discussed. Then, several instances from the selected case studies are stated that explain how Iranian filmmakers make use of these ideas in their works. Next, those scenes are studied, although they are outside the limitations of the frame edges, they possess a strong impacting effect. In other words, the aim in this section is to focus on pictures which have gone further than the limitations specified by the frame. The theoretical focus of this part is based on Noel Burch’s thoughts on the off-screen space. We try to increase the practical aspects of the discussion by including several instances of the selected movies. In the end, a rare and unique approach in framing is introduced and its characters are analyzed so that the innovative approaches in Iranian Cinema towards framing are revealed. Then, the concept of deframing is investigated by focusing on Pascal Bonitzer’s theory. This is followed by a search within movies to point out the moments where Iranian filmmakers manage to alter the conventional viewpoint and move toward deframing. Therefore, we notice a great preference in the works of the 80’s like Killing Mad Dogs, About Elly, and A Seperation to configure their images within the frame edges. Whilst, Bright Nights and Gavkhooni (The River’s End) have reached further and made an effort to alter the conventional and routine meaning of framing. قاب‌بندی یکی از مباحثی است که در زیبایی‌شناسی تصویر دارای اهمیت فراوانی می‌باشد. اما علی‌رغم اهمیت این مبحث، تا کنون کمتر پژوهشی را درباره سینمای ایران می‌توان مشاهده نمود که به قاب‌بندی و جنبه‌های آن پرداخته باشد. این مقاله تلاش دارد تا با رویکردی توصیفی- تحلیلی، به زیبایی‌شناسی قاببندی و ظرفیت‌های تصویرسازی آن بپردازد. از همین روی در گام اول، هشت فیلم از سینمای ایران در دهه 80 به عنوان جامعه آماری گزینش شده است: سگ‌کشی(بهرام بیضایی،1380)؛ شب‌های‌ روشن(فرزادموتمن، 1381)؛ گاوخونی (بهروزافخمی، 1382)؛ آتش ‌سبز (محمدرضا اصلانی، 1386)؛ شبانه‌روز (امید بنکدار و کیوان علی‌محمدی،1387)؛ درباره الی(اصغر فرهادی،1387)؛ پرسه در مه (بهرام توکلی، 1388) و جدایی نادر از سیمین (اصغر فرهادی، 1389). در ابتدا برای رسیدن به نتیجه‌ای آشکار، چندین نظریه برگرفته از آرای متفکرانِ متفاوت به عنوان چارچوب نظری مورد استفاده قرار می‌گیرد تا با تحلیل این نظرگاه‌ها در آثار سینماییِ گزینش شده، ماهیتِ کاربردی این مقاله افزایش یابد. در آغاز پژوهش، ماهیت قاب‌بندی و روند توسعه آن بررسی می‌شود. سپس به تصاویرِ درونْ قاب اشاره می‌شود. در ادامه تصاویری واکاوی می‌شوند که خارج از محدوده‌های بستة قاب حضور دارند و علی‌رغم پنهان بودن، فهمیده می‌شوند. در انتها به شیوه‌ای منحصربفرد و کمیاب در قاب‌بندی اشاره می‌شود و ویژگی‌های آن مورد تحلیل قرار می‌گیرد.

پردیس هنرهای زیبا دانشگاه تهران نشریه هنرهای زیبا- هنرهای نمایشی و موسیقی 2228-6012 21 2 2016 11 21 Development of Iranian Performance from a Diegetic World شکل‌گیری نمایش ایرانی از جهانی دایجتیک 15 24 59694 10.22059/jfadram.2016.59694 FA محمدباقر قهرمانی دانشیار دانشکده هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران بهروز محمودی بختیاری دانشیار دانشکده هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران پرستو محبی دانشجوی دکترای تئاتر، دانشکده هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران 0000-0002-5763-1693 Journal Article 2014 09 24 The concept of Diegesis (telling or recounting a story) originally appeared in Plato's thesis as opposed to Mimesis (showing or enacting a story). Plato described Diegesis as the third person style of expressing a fiction mediated by an author/narrator, whereas he proposed Mimesis as the first person style of presenting a story by means of characters and actions. Aristotle then applied Mimesis for the craft of writing plays and developed the notion to study dramatic and epic arts. In the current era, the notion of Diegesis and Mimesis has been reconsidered in the field of Narratology, and developed as the key elements for making difference between verbal narratives and drama, arguing that the sequence of events is generally mediated through a given narrator in a fiction, while it is presented in a play by an actor. Using historical documents and applying an analytical-descriptive method, the development of Iranian indigenous performance from traditional styles of story-telling would be discussed in this paper. By this way, the process of transferring narrative strategies into dramatic language and the connections between “Diegesis and Mimesis in Iranian plays will be traced. In the origins of Iranian performance, however, Diegesis and Mimesis, regardless of today's disagreements, are intertwined as such that the Rhapsodist (Naghal) functions as a narrator-actor who recounts the event from a third person view, at the same time that he attempts to perform his dramatic role from a first person view. In Ta'ziyeh, which many historians argue that it is inspired by Rhapsody (Naghali) and might be taken as the oldest type of traditional performance in Iran, performative elements are in alignment with narrative elements in such a way that they would be no longer accounted for an absolute narration, or an absolute imitation. The main features of Diegesis in Ta'ziyeh and Naghali could be explained in the style of developing dramatic elements such as character, dialogue, time and place. Although character has bodily and lively presence in Ta'ziyeh, it is needed more to narrate the role than to represent it. The world of Ta'ziyeh is often more composed of verbal elements rather performative or dramatic ones; Instead of being represented, the place is simply described. The time, like a narrative fiction, is also encompassed a wide range of temporality. With the respect to rich tradition of storytelling in Iranian history, Ta'ziyeh gradually could turn the style of narrating a story from a literary form into a dramatic one. Narrative techniques such as the play within the play, asides, parabasis, metalepsis, direct audience address, verbal summaries of offstage action, embedded narratives and metanarrative comments had fortune to enter into Ta'ziyeh and being steadily combined with its mimetic language. In conclusion, the subject of “Diegesis and Mimesis” in narratology will be reconsidered to prove that both terms are not simply descriptions for separating drama from narrative, but in fact, those are the unique natural features of both of them. مفهوم دایجسیس (نقل) نخستین بار توسط افلاطون در مقابل میمسیس (تقلید) مطرح شد. سپس ارسطو اصطلاح میمسیس را به حوزۀ درام وارد کرد و به توصیف آن در مقابل هنرهای اپیک (روایی) پرداخت. در دوران معاصر، مبحث دایجسیس و میمسیس در حوزۀ روایت‌شناسی بار دیگر موردتوجه قرار گرفت و به واژگانی کلیدی برای تمایز میان روایت کلامی و درام بدل شد. در نمایش سنتی ایران اما، دایجسیس و میمسیس کاملاً درهم‌تنیده شده است. در این مقاله، با استفاده از مستندات تاریخی، به روش توصیفی- تحلیلی، روند شکل‌گیری نمایش بومی از سنت‌های داستان‌گویی در ایران مورد بررسی قرار می‌گیرد تا از این راه روند انتقال راهکارهای نقلی به زبان نمایشی و پیوند دایجسیس و میمسیس در درام ایران دنبال شود. برای این منظور، نحوۀ ارائة عناصری چون شخصیت، دیالوگ، مکان و زمان در نقالی و تعزیه مورد بررسی قرار می‌گیرد تا نشان داده شود چگونه ارائة داستانی این عناصر، امکان ظهور دایجسیس در درام را ممکن می‌کند. در پایان، مبحث دایجسیس و میمسیس در روایت‌شناسی مورد بازنگری قرار می‌گیرد تا برخلاف ادعای روایت‌شناسان اولیه، ثابت شود این دو اصطلاح نه تعاریفی برای جداکردن درام از روایت، بلکه ویژگی‌هایی در درون هر دو می‌تواند باشد.

پردیس هنرهای زیبا دانشگاه تهران نشریه هنرهای زیبا- هنرهای نمایشی و موسیقی 2228-6012 21 2 2016 11 21 A Study of Expressive Meta-Morph Technique in Representation of the Poetical Imagination بررسی شیوه بیانی تکنیک متامورف در بازنمایی تخیل شاعرانه در انیمیشن 25 32 59695 10.22059/jfadram.2016.59695 FA فرزانه قبادی کارشناس ارشد انیمیشن، دانشگاه هنر تهران، تهران محمد رضا حسنائی دانشیار گروه انیمیشن، دانشگاه هنر تهران، تهران Journal Article 2014 11 10 In this essay, the Metamorphosis technique in animation is treated as a metaphoric structure, using visual or conceptual similarities between two shapes to express poetic imagination. This structure makes metamorphosis technique comparable with poem and dreams. This project has been carried out using the data available in books, articles and other published documents and movies. The data has been analyzed using comparative approach. The main purposes of this essay are determining the structural similarities between Metamorphosis Technique and poetic imagination. First, the primary data Will be elaborated its manifestations in different animations; second, the data will be analyzed through a comparative study of different approaches of expression based on Roman Jacobson’s theories in linguistics, and also by a comparative study of Sigmund Freud’s theories on interpretation of dreams. There is a pattern inferred from Jacobson’s theory that massage is communicated between sender and receiver, so metamorphosis as the core of animation has a narrative ability for carrying the massage. Metamorphosis is an ability to change picture to another picture without editing, So this technique is inspiring for animation techniques which editing is done under camera like painting on glass .Metamorphosis has two outputs, Firstly by transforming two different scenes like a transition (dissolve), and secondly metamorphosis of one character to another like fable stories that a hero usually change to something else by an spell. If morphing hasn’t just a decorative purpose, the expression might exit, Base on Jacobson’s theory in linguistic there are two kinds of expressive relationships: Paradigmatic relationships and syntagmatic relationships. These relations are important because our understanding of the world and our interaction in it are governed largely by relationships; metaphor is similar to paradigmatic relations and allegory is similar to syntagmatic relation, in metaphoric way two different objects replace with each other but in allegory part of object replace to the whole object. The metamorphosis , more than a mere technique, is a way for expression; true metamorphosis has two parts that morph to each other ,thus the relationship between them could result in one of two main way of linguistic expression. There is a similarity between two parts ,in metaphoric metamorphosis, When metaphoric relationship happens the spectators mind is looking for the meaning and the reason of changes, So start analyzing and dreaming about meaning .This poetic way of expression that exist in metamorphosis made it suitable for representing dreams. Dream is a road to unconscious part of mind and also a special feature that everybody experiences it. Thus, it is important to understand its structure. Based on Freud approach, latent content of dream infer the manifest content; that can be interpreted as some information that the conscious individual remembers experiencing. Dream work is changing these materials by condensation and displacement. Other similarities among metamorphosis and dream and poem consist of symbol and similarity and being visual; and paradox is acceptable. A pattern for finding ideas for making animations by using the Metamorphosis Technique could be possible by metaphoric approach در این مقاله، متامورف فراتر از یک تکنیک انیمیشن، و بهعنوان شیوهای بیانی که ساختار استعاری دارد، مورد مطالعه قرار میگیرد. منظور از ساختار استعاری، ساختاری دو بخشی است که در آن دو شکلی که قرار است به هم تبدیل شوند، دارای شباهتهای ظاهری و یا مفهومی با یکدیگرند. این شباهت، عامل جانشینی و معناسازی است. همچنین این تکنیک را میتوان قابل مقایسه با شعر و رویا که مصادیق تخیل شاعرانهاند، دانست. هدف اصلی این پژوهش، تعیین شباهتهای ساختاری میان تکنیک متامورف و تخیل شعرگونه است. درک شیوه بیانی متامورف، با توصیف انواع مورف در نمونههای انیمیشنی و مطالعه تطبیقی ساختار آنها با ساختار انواع شیوههای بیان در نظریات رومن یاکوبسن در زبانشناسی امکانپذیر میباشد. برای شناسایی ساختار تخیل شعرگونه، از نظریات زیگموند فروید در تحلیل رویا استفاده شده است. طی این پژوهش درخواهیم یافت که تکنیک متامورف، بستر مناسبی را جهت به تصویر کشیدن تخیل شاعرانه در اختیار فیلمساز انیمیشن قرار میدهد، که با استفاده از قواعدی که در مقاله مشخص شده است، میتواند مسائل خیالانگیز و رویاگونه را به کمک آنها به تصویر کشد.

پردیس هنرهای زیبا دانشگاه تهران نشریه هنرهای زیبا- هنرهای نمایشی و موسیقی 2228-6012 21 2 2016 11 21 Local Color from Marg dar Paeez (Death in Autumn) to Fen Parallelism in Regional Dramas of Akbar Radi and Caryl Churchill رنگ بومی از مرگ در پاییز تا ِفن توازی ویژگی های اقلیمی در نمایش نامه های بومی اکبر رادی و کاریل چرچیل 33 40 59696 10.22059/jfadram.2016.59696 FA سپیده باقری لویه دانشجوی دکترای ادبیات انگلیسی، پردیس بین المللی کیش دانشگاه تهران ناهید احمدیان دکترای ادبیات انگلیسی، دانشکده زبانهای خارجی، دانشگاه تهران Journal Article 2014 11 24 Regional literature, as one of the literary genres, strives to depict the geographical and climatic features of a particular region in the manners, principles, attitudes, beliefs, and the language of their inhabitants. The present article, attempts to offer a parallel analysis of these features in two works of Mage dar Paeez (Death in Autumn) by Akbar Radi and Fen by Caryl Churchill. Born in Rasht, north of Iran, Akbar Radi shows great concern to portray the everyday life of the people of his homeland. Almost all of his plays have Gilan as their setting and are full of references to the distinctive lifestyle and beliefs of the region’s inhabitants, among which Mage dar Paeez (Death in Autumn) could be considered a remarkable example. Caryl Churchill, however, is not a dramatist with regional concerns. She is known to be a writer with feminist and leftist tendencies who mostly depicts the lives of lower class women. Nevertheless, local color can be traced in some of her works, notably Fen. In both plays of Marg dar Paeez and Fen, regional features, play determining role in the overall lives of the characters and their enactments. The article tries to offer a parallel reading of the regional elements with recourse to the five following categories: geographical condition, agricultural and habitual features, dialects, economic relations and finally, attitudes and manners of live. The study begins by offering a background of regional literature both in Iran and western world, and respectively, casts a look at regional dramas and by referring to Radi and Churchill, attempts to offer a background to their works and the influence of regional perspectives in their dramatic productions. Marg dar Paeez sketches out the life of a peasant family in one of the rural areas of Gilan, north of Iran. Fen, on the other hand, is the manifestation of the lives of local inhabitants of east England. The five elements mentioned above, offered by Abdol Ali Dastgheib in his article, "On Regional Literature", are among the general theorizations done sketching out the features of regional literature. The features under question are then studied in a parallel comparison between the two works. In each case several examples are offered to show the traces of that regional element in the work. The comparison as such, not only highlights the regional features of each play individually, but also indicates the similarities and differences of the aforementioned criteria in the two selected plays. Meanwhile, the article also traces the cultural and social elements resulting from as much as leading to the environmental give- and- takes which are inevitable outcomes of such cohabitations. The study as such aims to come up with two conclusions: first that in both dramas the climate plays a determining role in the anthropological as well as ethical habits of local communities and secondly, despite cultural and sociological differences along with the various approaches of the authors in dealing with subjects as such, these plays encapsulate significant elements in common which, in turn, could result into a better and deeper understanding of various cultures. ادبیات بومی، یکی از اَشکال ادبیات است که به پژواک تاثیرات اقلیمی در شیوه، اصول، اعتقادات و به طور کلی سبک زندگی ساکنان آن اقلیم میپردازد. مقاله حاضر، ویژگیهای اقلیمی دو نمایشنامة مرگ در پاییز اثر اکبر رادی و فن نوشتة کاریل چرچیل را، به شیوه تطبیقی-تحلیلی مورد بررسی قرار داده است. مرگ در پاییز، روایتگر زندگی خانوادهای در یکی از روستاهای گیلان است و فن احوال شماری از اهالی یک منطقه را در سرزمینهای شرقی انگلستان به تصویر میکشد. در این مقاله، ویژگیهای بومی دو نمایشنامه در پنج بخشِ اوضاع جغرافیایی، وضعیت زراعی و معیشتی، گویش محلی، مناسبات اقتصادی و ویژگیهای جغرافیای انسانی، مورد کاوش قرار میگیرند. رهآورد این مطالعه دو دستاورد است: نخست آنکه نشان میدهد در هر دو اثر، نوع اقلیم، تعیینکننده بسیاری از ویژگیهای انسانشناسانه و قومی است. و دوم آنکه برغم تفاوتهای فرهنگی و جامعهشناختی در میان اقوام و ملیتهای مختلف، و نیز با وجود سبک پرداخت متفاوت نویسندگان و رویکرد آنها به مسائل بومی، این آثار در مولفههای بنیادین خود، مشترکات چشمگیری دارند که می تواند در نگاهی کلیتر به درک بهتر و ژرف تری از فرهنگ های مختلف بیانجامد.

پردیس هنرهای زیبا دانشگاه تهران نشریه هنرهای زیبا- هنرهای نمایشی و موسیقی 2228-6012 21 2 2016 11 21 Political Temperance and Rational Contrivance in the Oresteia Trilogy by Aeschylus: Reflecting on the Problem of Areopagus اعتدال سیاسی و تدبیر عقلانی در سه‌گانة اورستیا اثر آیسخولوس: با تأملی بر مسألة آریوپاگوس 41 52 59697 10.22059/jfadram.2016.59697 FA فرهاد سلیمان نژاد کارشناس ارشد پژوهش هنر، دانشکدة هنر و معماری، دانشگاه علم و فرهنگ تهران، تهران Journal Article 2014 04 16 The council of Areopagus as a judicial establishment monitored the proper implementation of rule of law in the polis (city-state) of Athens. While, the main responsibility and duty of Areopagus was to adjudicate the cases of the most serious crimes, it intervened in the political affairs as well. Eventually, after long-lasting political conflicts between Athenian oligarchy and democracy, this establishment lost its political power due to democrats’ struggles led by Ephialtes in 460 BC. The reason was that Areopagus had lost its supervisory and democratic functions during these years, and had turned into a political leverage in the hands of oligarchs against the crowd. Therefore, after dominating oligarchy, Athenian democracy did not hesitate to limit the power of Areopagus. Two years later, in the 458 BC, Aeschylus, who was a trenchant advocate of democracy, celebrated the reopening of Areopagus in the Oresteia trilogy. Although Aeschylus’ political idea is apparently in conflict with the demands of Athenian democracy, he is not considered to be a conservative oligarch. In the play, Pallas Athena, the goddess of wisdom in Greek mythology, is the founder of this judicial establishment, and counters the demands of Eumenides (Greek deities of vengeance), who represent tradition. On the other hand, Eumenides’ demands accord with tradition and administration of justice according to “blood for blood”; however, to Athena, such justice will result in chaos and disturbance. Athena demands that the administration of justice be allotted to a legal and democratic institution through establishing the council of Areopagus; whereas, the realization of justice according to tradition and the demands of Eumenides, in fact, indicate the deviation of justice to violence. That being so, Aeschylus’ political thought is the practice of rational contrivance and political temperance resisting two kinds of extremes. The first insists on implementing tradition and revenge, which is symbolized by Eumenides, and the second is the revolutionary confrontation with a legal establishment whose nature is based on the rule of law and rationality in the political arena. In fact, instead of revolutionary overthrow of Areopagus, Aeschylus more wishes to reform its hegemonic and non-democratic functions. The Rule of Law based on temperance and rational contrivance as against violence is Aeschylus’ firsthand political thought, which is represented by the establishment of Areopagus. Therefore, Aeschylus is a reformist politician not a revolutionary one. In this respect, Aeschylus as a reformist thinker of drama is a follower of Solon (Regulator and politician), who is considered among the most famous political philosophers of ancient Greece. Solon was the founder of Athenian democracy and the developer of the idea of moderation in politics. In other words, it was he who initiated the modern idea of Tolerance. Solon insisted on the will of man and morality for security, peace and elimination of violence to be gained. Undoubtedly, this idea is contradictory to the divine providence. Aeschylus also agrees with Solon in that both emphasize free will, morality, and rejection of determinism. All these innovative concepts are a rational contrivance to realize rationality in politics. این مقاله تفسیری است تاریخی بر سه‌گانة اورستیا اثر آیسخولوس، که بر آن است تا ایدة سیاسی این سه‌گانه را با استمداد از روش مطابقت تاریخی اثر و تاریخ سیاسی یونان باستان تبیین کند. دستمایة این مقاله برای تحقق این هدف، تبیین موضع‌گیری اورستیا در برابر انحلال آریوپاگوس است. آریوپاگوس، نهادی قضایی بود که بر حُسن اجرای قوانین در آتن نظارت داشت و در پی سال‌ها مجادلات سیاسی الیگارشی و دموکراسی آتن، در 460 ق.م توسط دموکرات‌ها منحل شد. دلیل این اقدام این بود که این نهاد طی سالیان متمادی، از کارکرد نظارتی و دموکراتیک خود تهی شده و به اهرم اِعمال فشار اشراف علیه مردم مبدل شده بود. هدف این مقاله، تبیین موضع سیاسیِ آیسخولوس در برابر مجادلات سیاسی دموکراسی و الیگارشی آتن است. بنابه یافته‌های مقاله، آیسخولوس نه از دموکراسیِ افراطی جانبداری می‌کند و نه از الیگارشیِ ستیزه‌جو. بلکه وی خواستار استقرار شکلی از حکومت است که می‌توان آن را «حاکمیت قانون» نامید. فی‌الواقع آیسخولوس وفادار به قسمی عقلانیت و اعتدال سیاسی در برابر دو قسم از افراط سیاسی است. قسم نخست این افراط، پافشاری بر سنت و خونخواهی است؛ و قسم دوم آن انحلال انقلابیِ نهادی قانونی است که فلسفة وجودی‌اش حاکمیت عقلانیت در عرصة سیاسی است.

پردیس هنرهای زیبا دانشگاه تهران نشریه هنرهای زیبا- هنرهای نمایشی و موسیقی 2228-6012 21 2 2016 11 21 Aural Parameters in the Pedagogy of Flute Performance پارامترهای سمعی در آموزش نوازندگی فلوت 53 62 59698 10.22059/jfadram.2016.59698 FA آذین موحد دانشیار دانشکده هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران زهرا کشاورز کارشناس ارشد نوازندگی موسیقی جهانی، دانشکده هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران Journal Article 2015 03 08 The French School of Flute playing which was propagated through the leadership of the Paris Conservatoire in the 1890s has been considered as the foundation of flute performance and pedagogy in the modern world. Despite the prolific output of the teacher's of the Paris Conservatoire who widely wrote daily exercise books and studies for their students, a very limited number of these books concentrate on techniques of tone production and sonority and a wide majority consider only the development of dexterity and finger technique as their focus. While acknowledging the importance of finger technique in flute performance, it is common knowledge today, that a lack of consideration of issues related to sound and tonalization can hinder the development of the modern flutist. More importantly, in countries where the western classical tradition of sound is not directly embedded in the aural concepts of that culture, a lack of attention toward the importance of sound quality and tone color can become detrimental in achieving the expressive elements of musical performance. Using library references, as well as applied studies and empirical research, this study has reviewed the important role that Paul Taffanel and Marcel Moyse have played in propagating the aesthetics of sound in flute performance. While reviewing the principles discussed by the two teachers in their memoires as well as the introduction to their method books, the article has reviewed the social trends that led to the development of their thoughts and principles. As a result, particular exercises from different method books for the flute have been selected in order to present instructions and guidelines that enhance the pedagogy of tone and sound production based on the ideals propagated by the two teachers. The article has specifically addressed common terminology used by French teachers in their method books in order to postulate the significance of the words that have been used to describe the quality of sound as desired by the teachers of the Paris Conservatoire. As a result, the article has attributed three major characteristics to the French style of flute playing, namely "homogeneite, egalite, and souplesse", all three of which cover the concept of sound in an integrated multifaceted continuum. Homogeneite refers to the internal qualities of each tone affected by intonation and harmonics, egalite considers the uniformity of sound between notes and neighboring relationships and, souplesse considers the dynamic fluidity of sound in musical inflection. The article further presents suggestions that instigate appropriate instruction toward the realization of these concepts in the given exercises. While introducing parameters that would help flutists produce a more focused and well projected sound crucial for the expressive interpretation of music, it also motivates flute players to discover aspects of musicianship that lead to better intonation, artful blending of sound and better control and stamina in performance. Moreover, it helps flutists have particular objectives in mind while producing tone and sonorities to enhance expressive elements in the interpretation of a given piece. سبک نوازندگى فلوت در دوران معاصر که معیارها و استانداردهاى جهانشمولى را دربرمىگیرد، تحت نفوذ مکتب فرانسه توسعه یافته و کنسرواتوار پاریس در پایهریزى رویکردهاى پداگوژیک در نوازندگى این ساز، نقش کلیدى داشته است. علیرغم تعداد زیاد کتب و تمرینات به جای مانده از معلمان این مؤسسه، هیچیک از آنها دستورالعملی مربوط به تکنیک صداسازی و سونوریته مطرح نکردهاند و هر آنچه باقی مانده است، موارد مربوط به مهارتهای مکانیزم و آرتیکولاسیون است. امروزه در جوامعی که موسیقی کلاسیک از ارکان فرهنگ بومی آنها نیست، عدم آشنایی با مفاهیم سونوریته و صداسازی، آموزش و اجرای این سازها را با نقصان روبرو کرده است. این تحقیق با استفاده از منابع کتابخانهای و مبتنی بر تجربیات شخصی، با معرفی معیارهایی برای کیفیت صوت، آنطور که مدنظر معلمان مکتب کنسرواتوار پاریس بوده است، تمرینهای بنیادی و دستورالعملهای مناسبی را برای دستیابی به سونوریته صحیح معرفی میکند. در این بررسى، سه عنصر مهم یعنی هوموژنئیته، اگالیته، و سوپلس که از نوشتهها و گفتههای معلمان فرانسوی استخراج شده، بهعنوان شالودة صداسازی در مکتب نوازندگى فلوت فرانسه معرفى میشوند و با تمرینهای ارایه شده، راهکارهایی برای دستیابی به کوک پایدار، تمبر، رنگآمیزی و تلفیق صدا معرفی میکند.

پردیس هنرهای زیبا دانشگاه تهران نشریه هنرهای زیبا- هنرهای نمایشی و موسیقی 2228-6012 21 2 2016 11 21 Music in Ghaznavid Period موسیقی در دورة غزنویان 63 68 59699 10.22059/jfadram.2016.59699 FA سید حسین میثمی استادیار دانشکدة موسیقی، دانشگاه هنر تهران، تهران Journal Article 2015 04 06 The focus of this article is on music in Ghaznavid (977 – 1186 AD) period. In addition to Turkish culture, it was influenced by Persian and Arabic cultures. The aim of this research is to recognize the music of historical dynasty in middle Iranian history (After the dominance of Islam until modern times). This government is divided into three historical periods; in every period, the geographical area has been reduced. There are two subjects in this article: social and technical aspects of music. The kings' interests for music, use of music in the feast and organization of court music have been studied with respect to the social aspects. With regards to technical aspects, musicologists, modal system and metric - rhythmic system have been studied. The method of this research is descriptive-analytical that not only tries to explain the events but also tries to analyze why and how music has been changed in the course of history. In this paper, two aspects of social and musical expertise constitute the basis of the article. Some of the kings of this dynasty were immensely into feasts. Music was one of the important elements in their feasts. There is no sign of music sanction on behalf of the kings in the sources. Musicians included music players, singers and professional poets. Music players sometimes played more than one instrument and singers could also play musical instruments. It is likely that the poets used to play music to make their poems more influential. Festivals and ceremonies were of great importance in Ghaznavid period. The court's entertainers could earn great money in this way; this issue affected the social welfare and classes significantly. Login Lowry/Loulian's arrival (a tribal Chandar/sandal) to the territory of Ghaznavid after the Sassanid era was the second migration of this group. Chndalan has been the sixth social class in India which puts them in the second rank before Donban (the seventh class in India) and were among the lowest social classes. This is why they were not considered high class by Iranians. Some think that this migration paved the way for their gradual dispersion from Iran to the west. There have been significant efforts on theoretical writings which ambiguously mirror somewhat the musical system of this period. The beliefs of the time played a significant role in the musical lives of musicians. There have been some different modes in the basic musical structure of this period such as Pardeh and Shobeh in which Nava, Sama, Râh/ Rah, Bâng and Alhân are made. Although these notions have sometimes been overlapped, it seems that the registers of three Pardeh Râst (Mother Mode) had an essential role in the formation of other modes, mode combination of mode foundation (perhaps derived from Râst) respectively. Metric-Rhythmic system is another aspect of the theoretical system of this period. According to the sources of this period it can be implied that Iqa'at (Metric-Rhythmic modes) has been prevalent. Although Atanin was used in their transcription and solfege, there had been some sorts of inconsistency with systematics school. در این مقاله به موسیقی دورة غزنوی پرداخته میشود. هدف از این تحقیق، کشف تحولات تاریخی موسیقی یکی از سلسلههای ترک تبارِ دوران میانی تاریخ ایران است. روش تحقیق، توصیفی و تحلیلی است که علاوه بر تشریح وقایع، تلاش شده چرایی و چگونگی تحولات موسیقی مورد تحلیل قرار گیرد. در این مقاله، دو جنبة اجتماعی و تخصصی موسیقی، اساس ساختار مقاله را تشکیل میدهد. بر اساس شواهد میتوان احتمال داد که در این دوره، سازمان منسجمی در دربار برای موسیقی وجود داشته است؛ دستاندرکاران این تشکیلات، مسئولیت مشخصی را برعهده داشتهاند. ورود لوریان/ لولیان اسیر از هند و سند به قلمرو غزنوی، آغازی برای پراکندکی و مهاجرت تدریجی آنان به خارج از ایران شد. در زمینة تألیف مباحث نظری، تلاشهایی صورت گرفته که تا حدودی جنبههای مبهم نظام موسیقایی این دوره را بازتاب میدهد. با مقایسة مباحث نظری رسالة موسیقی نیشابوری با رسالة ادوار صفیالدین (مؤسس مکتب منتظمیه)، میتوان به شباهتها و تفاوتهایی در عرصة نظری - عملی شرق و غرب تمدن اسلامی پی برد. این شباهتها و تفاوتها عمدتاً به نظام پردگی و ریتمیک برمیگردد.

پردیس هنرهای زیبا دانشگاه تهران نشریه هنرهای زیبا- هنرهای نمایشی و موسیقی 2228-6012 21 2 2016 11 21 The Ghazal-khâni and Its Place in Iranian Musical Culture غزل‏خوانی و جایگاه آن در فرهنگ موسیقاییِ ایران 69 76 59700 10.22059/jfadram.2016.59700 FA ساسان فاطمی دانشیار دانشکده‏ی هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران Journal Article 2015 02 24 Ghazal-khâni, known in the official milieu as kuchebâghi, is a form of free-metered song using poems from the oral tradition, and sometimes even classical poems, sung especially in Tehran and the city of Rey by amateur singers who belong, in most cases, to a particular socio-cultural class. The place of this vocal genre in official Iranian culture is influenced by the status of its singers, who belong to a social class with more or less deep religious tendencies, but also have features deemed suspect according to ethical and social norms. This socio-cultural class, which inhabits the south of the socially polarized contemporary city of Tehran, and whose members are known as dâsh, dâsh mashdi, gardan koloft, jâhel, etc., has always had two opposing characteristics, oscillating between generosity and honesty, on one hand, and malfeasance, on the other, and has provoked sometimes respect and sometimes hate, but has always been the object of society’s suspicions. In fact, like the free-metered châhârpâre-khâni in different regions of Iran, ghazal-khâni is a kind of chanting of poems, which is, due to its links with the country’s poetic tradition, a sign of 'high culture' within a popular milieu, and therefore a source of prestige, at least for the gardan kolofts of good reputation who practice it. This form of song is also called bâbâ shamali, lâti (from lât = thug) and, since the 1940s, bayât-e Tehrân. It is sung a cappella and has didactic and religious texts. The performance of this kind of song obeys particular rules and was formerly sometimes part of a musical spar between the dâshesin cafes. It is an urban folk music, which shares its musical system with that of Iranian classical music, using the same modes. Yet it is more restricted than its classical counterparts and does not exploit all modal possibilities of this common system, but merely a few modes, particularly the Segâh, the Dashti, and the Homâyun. In performance, the singer does not use the complicated techniques and the melisma of classical singing, which is a kind of very fast yodel, so this singing is much simpler and lacks sophistication compared to its classical counterpart. Ghazal-khâni follows a particular form with regard to the order of the poems that are sung in every session. In fact, it is a suite with a defined order of pieces. The singer first sings one or two quatrains and then the main poem, which can be in the form of ghazal,but also, despite the genre’s name, in different forms of mosammat,particularly mokhammas and mosaddas. At the end, he concludes with another quatrain. The official milieu has poor knowledge about this form of song and was always misled regarding the content of its poems and its singing style. It has always confused this kind of song with the repertoire of the motrebs, which always contained satirical and comic poems, the quality completely absent from the poems of ghazal-khâni, because its content is very serious and sometimes even religious. غزل‏خوانی، که در محافل رسمی بیشتر با نام «کوچه‏باغی» یا با نامِ خودساختة «بیات تهران» شناخته شده است، نوعی آواز با وزن آزاد بر روی اشعار شعرای فرهنگ شفاهی، و گاه شعرای کلاسیک است که به‏ویژه در تهران و شهر ری خوانده می‏شود. جایگاه این آواز در فرهنگ موسیقایی رسمی به‌طور وسیعی متأثر از جایگاه اجراکنندگان آن در جامعه است که غالباً به قشری که به‌نام‌های مختلف، مثل داش، داش‌مشدی، گردن‌کلفت، جاهل و غیره خوانده شده، تعلق دارند. این قشر فرهنگی‏ـ اجتماعی، همواره نماینده‌ی دو خصلت متضاد بوده و با نوسان میان جوانمردی و اوباشی‌گری، گاه احترام و گاه انزجار افراد جامعه و تقریباً همواره، سوءظن و بی‌اعتمادی آنها را برانگیخته‌ است. غزل‏خوانی، درواقع مانند چهارپاره‏خوانیِ با وزن آزاد در مناطق مختلف ایران، نوعی شعرخوانیِ ملحون است که، به‏علت پیوندش با سنت شاعری در فرهنگ ایرانی، نمادی از فرهیختگی در دل فرهنگِ عامیانه یا مردمی به حساب می‏آید و به این ترتیب، حداقل برای گردن‏کلفت‏های خوش‏نام و جوانمردی که از این هنر بهره‏مندند، مایة تشخص و تمایز اجتماعی است. این نوع آواز، از یک فرمِ ترکیبی معین تبعیت می‏کند و از نظر نظام موسیقایی، وابسته به نظام موسیقی کلاسیک ایرانی است، اما از پیچیدگی‏های فنیِ آواز کلاسیک بهره نمی‏برد.