نوع مقاله : مقاله پژوهشی
نویسندگان
1 گروه مطالعات عالی هنر - دانشگاه تهران
2 استاد گروه موسیقی، دانشکدۀ موسیقی و هنرهای نمایشی، دانشکدگان هنرهای زیبا، دانشگاه تهران، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The history of using loanwords in Iran goes back many years, and examples of such loans, especially in music, are abundant. Among Western loanwords, “jazz” experiences a unique fate and becomes the basis for various interpretations. In this research, which relies on written materials in a descriptive-analytical method, we seek answers to the following questions: What concepts are associated with jazz over time, and what factors have contributed to the inconsistent interpretations of jazz during its musical evolution? Four stages organize the present research. First, the types of terms related to jazz are introduced, and the characteristics of each interpretation are explained. Their description and classification facilitate the recognition of the areas related to it. In the second stage, the replacement of terms with other equivalents is analyzed, and their synonyms over time are discussed. In the third stage, the reasons and contexts for the emergence of various terms for jazz are introduced and musical and nonmusical issues are analyzed. In the fourth stage, considering "Iranian jazz" as a term that has remained in music literature for decades - despite changing functions - it is compared with "American jazz" with a technical approach. Their similarities and differences are discussed to find a relationship. The present study revealed that the loanword "jazz" in Iranian music literature represented five concepts: 1. Jazz in the sense of European popular music 2. Jazz in the sense of an experimental genre 3. Jazz in the sense of drums 4. Jazz in the sense of Iranian popular music 5. Jazz in the sense of real jazz. Although some irrelevant perceptions persisted for decades, a deeper understanding of the characteristics of jazz by Iranian musicians - especially from the 1990s onwards - other equivalents replaced the irrelevant interpretations. "Iranian jazz" is the only term that, although with a change in function, remained in Iranian music literature during both periods before and after the Islamic Revolution of Iran. Another part of the present study shows that certain conditions provide grounds for the emergence of different interpretations of jazz. The confluence of issues such as anti-Americanism, traditionalism, subjectivism, lack of coherent support from Iranian organizations and the academic system, as well as musical differences, created a situation that contributed to the uneven understanding of jazz and ultimately made the ground for the emergence of discordant and sometimes contradictory concepts of this loanword. The findings also show similarities between so-called Iranian jazz (in the 1960s and 1970s) and American jazz. Although the most obvious overlaps do not go beyond the level of writing chords and using a lead sheet, the use of wind instruments in the style of big jazz bands, entrusting the harmonic part to the musicians, using melodic patterns derived from the blues scale, adding sixth, seventh, and ninth intervals to the structure of major and minor triads, and the use of cluster voicing indicate a more profound similarity, the extent of which, of course, requires further research.
کلیدواژهها [English]
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