عنوان مقاله [English]
The question about identity has been a critical problem in Iranian musical tradition context. This article is about 1) how this problem is built in a society focusing on a musical culture, 2) which discourses are formed around this issue and then 3) how to classify Iranian classical repertoire using these data. The first is to explain conditions of forming identity as a problem. It seems that Reference identity, Other’s identity, Communication and Information development are three critical components in forming the issue. The first refers to a society which has some specific characteristics. The second one is at least another culture with different identity characteristics. In 20th century the most sample of other’s identity is western culture and in this case, too. The third component has become effective since information technology is influencing cultures specialy in second part of 20th century. The second step is analyzing of discourses about identity which discussed through geneology of several expressions that used for naming and explaining of the Iranian tradition by different classes of opinions in the culture. The first expression is Melli (national) music. This thought of musical identity comes from an idea that the tradition is very potential to being a national subject which is the conclusion of Alinaghi Vaziri’s school. One of the most charactersistics of the discourse is that it accepts some western musical values as means to modernizing music. The second expression is Sonnati (Traditional) music which is focusing on tradition as a historic heritage as main identical idea. Reference and main source of authentification in this thought, which build main value is belonging to Radif as classificated repertoire in Qajar era which is central repertory of the discourse. The third expression is Dastagahi music which is the name of Iranian musical system. Importance of the expression is because of a specific musicological approach rather than nonmusicals before. Its approach to internal content of music is for first time ever in the tradition. The content of the music in these two last discourses are mergable. The last significant expression is Iranian Classical music. This is a music-based terminology and has been used frequently for approximately 30 recent years. This expression tries to overcome identity challenge by collecting various aspects of identity. The discourse has a wide and unified view about identity of tradition. While it represents its own ideal repertory which is based on a thought to obtain a musical tradition that is continue of ancient tradition of Iranian music. These identical discourses accompanied with another research from this article authors Recognition of Central Features as Characteristic Elements in Iranian Classical Music (2020) would classify repertoires three a live repertoires around Iranian music. Sonnati and Dastgahi discourse represents Sonnati repertoire, Melli repertoire and Iranian Classical repertoire that come from their corresponding discourse. In other hand there is a repertoire that could not classified a part of Iranian context but it’s a part of western classical repertoire which apply some characteristic elements of Iranian music that named Iranian-based (western) classical repertoire.