بررسی یک نمونه از روایت گری در تاریخ موسیقی ایران (مطالعه ی موردی: اعدام استادان موسیقی دربارِ امیرانشاه و فرار عبدالقادر مراغی)

Abstract
This study attempts to research the music’s relevant historical incidents according to the various available narratives. This study aims to analyze the variety of narratives and the relative understanding of the incident. Research method is based on comparative study of the narratives. Narrative has always been implied in art and history and therefore, a variety of ideas has been presented. Since, this study is related to history, narrative is not being considered in an artistic viewpoint. Narrative is among the most significant issues in science and the philosophy of history. Basically, most of the previous historical texts have been formed according to the tradition of narrative. The importance of the issue, chronology of incidents, their detailed provision and balance are the most significant factors. Variety of music-related narratives could be observed in historical resources. Hanging of musicians in the court of Amiranshah (Tamerlane’s son) is among one of these incidents. Structurally, incidents are sometimes contradictory in the introduction and main body of the story. Some authors used to add fun to a tragic story which could make the story more interesting. The process of incidents’ narrative is chronological-based, though, detail provision and their balance are not the same in narratives. The use of various narratives in one incident reveals the realistic nature of the incident; although, there has always been a wide gap between an incident and the truth of it. The narrative of hanging musicians in the court of Amiranshah and Abdolghader fled from the situation, demonstrates that despite the significant developments in music in Teimorid era, there has been no security for musicians in that time. Amiranshah’s mistreatment with musicians and blaming them for this behavior are the two significant points in this incident. Generally, two groups of narratives have been formed about this incident in the year 802 in lunar calendar. The first narrative is based on those historians’ records that have lived in the time of the incident’s occurrence; the second narrative is based on the mostly non-written evidence. It seems that the latter is less reliable than the former. Disagreements in recording the musicians’ names and the indefinite narratives are the reasons for this claim. It seems that despite the presence of Abdolghader among the other musicians of Amiranshah’s court; he has not been among those who were hung due to some unknown reasons. In this case, it could be claimed that Abdolghader’s credit before Tamerlan and reciting Quran is among the most significant reasons for saving his life, though; he fled the court to save his life. Tamerlane’s seven-year military expedition and his presence in Tabriz could be among the main reasons for Abdolghaer’s not seeking shelter in Baghdad; because Tamerlane intended to attack Baghdad and Sultan Ahmad Jalayer could not resist against Tamerlane. That is why Abdolghader decided in the right time to go to Tamerlane and recite him a verse of Quran in which the title is about forgiving the weak; he could save his life and explain his absence during the incidents.