نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشیار موسیقیشناسی (اتنوموزیکولوژی)، دانشکده موسیقی، دانشگاه هنر، تهران، ایران.
2 دانشگاه هنر ایران - تهران - ایران
3 مربی دانشکده موسیقی، دانشگاه هنر ایران، تهران،ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Iranian Dastgāhi music, as one of the classical musical systems of the country, has undergone significant transformations in its functions over the past century. The importance of this issue lies in the fact that socio-economic and political changes, along with cultural variations, have shifted the role of this music beyond the realm of “aesthetic enjoyment” toward other functions. The time span of this study-stretching from the late Qajar period to 2021-was deliberately chosen to allow both a tracing of prior functions and a recognition of the social turning point marked by the Constitutional Revolution. The central research question concerns the factors that have led to changes in the functions of Dastgāhi music and the ways in which these transformations have been reflected within Iran’s historical contexts. The study further aims to explicate both primary and secondary functions, to assess the degree and form of divergence from the core aesthetic role, and to situate such deviations within broader social, cultural, and institutional conditions. The necessity of this investigation derives, on the one hand, from the continuous influence of social factors in altering core functions and, on the other, from the need to demonstrate the sustained role of Dastgāhi music in Iran’s social transformations. This research was conducted using a qualitative and descriptive-analytical approach. Data were collected from library resources, historical documents, audio recordings, and specialized interviews. Such a methodology was selected in light of the interdisciplinary nature of the topic, requiring the integration of historical texts with musicological analysis. Findings reveal that in the Qajar era the predominant function of Dastgāhi music centered on aesthetic pleasure. During the Pahlavi period, under the influence of mass media expansion and modernist currents, Dastgāhi music, while retaining its artistic dimension, acquired new functions including entertainment, national identity formation, and mystical reflection. In the Islamic Republic, due to institutional restrictions and the reconfiguration of performance contexts, multiple functions have emerged in parallel, with none wholly displacing the others. Thus, the trajectory progresses from a “linear” model in the Qajar and Pahlavi periods toward a “parallel” model under the Islamic Republic. Moreover, the study identifies meaningful correlations between these functional shifts and the emergence or reinforcement of new musical subgenres surrounding Dastgāhi music. Given that prior scholarship has not examined the functions of Iranian Dastgāhi music in a direct and systematic manner, the present study provides a novel contribution by organizing and classifying historical-musicological evidence within a functionalist framework. By drawing on distinctions such as “application versus function” and on analytical models such as “consumption–application–function,” this research constructs a comprehensive picture of the functional dynamism of Iranian Dastgāhi music. In doing so, it advances beyond the mere enumeration of functions to offer a genuinely functionalist interpretation of historical transformations. Ultimately, the findings underscore that Dastgāhi music is not merely a cultural heritage artifact but a living and dynamic institution that has remained intertwined with Iran’s social and cultural transformations. These results hold potential value for the reinterpretation of contemporary Iranian musical currents and for cultural policy-making aimed at preserving and strengthening the position of Dastgāhi music.
کلیدواژهها [English]
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