نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی
پیاپی 75 (پاییز 1401)

The logic of the Dastgāh, from its emersion to the present day, has always included a modal arrangement from a lower pitch to a higher level. This arrangement always returns to the "Darāmad" mode at the lowest pitch of the system represented by the concept of Forūd, a motion to objectify the cyclic pattern of the Dastgāh. The critical point in these modal arrangements is that some modal entities appear in different Dastgāh-hā (s. Dastgāh) with the same or sometimes different names. As a result, a single entity may occur at different pitch levels relative to the fundamental pitch of the corresponding Dastgāh in Darāmad. On the other hand, the acoustic nature of the anterior and posterior modes of a mode and the tuning of the basis of the Dastgāh affect the acoustic appeal of that mode. In this regard, a modal entity in various presentations within the arrangement of different Dastgāh-hā, in its outer layers, undergoes a kind of melodic adaptation. In addition, according to the current concept of Āvāz in Iranian classical music, the independent performance of a mode outside the system and without the presence of previous and subsequent entities, as well as the concept of Forūd will have a different timbre and tonal color. The present study uses descriptive, analytical, and comparative methods and two case studies: Mokhālef-e Segāh – Bayāt-e Isfahān-e Qadim and Nayshābūrk-e Māhūr, to study the effect of modal arrangement of the Dastgāh, on the acoustic representation of a modal entity and its mental perception in this system. Each of the four authoritative narrations of Iranian classical music Radif, including the narrations of Mirzā Abdullāh, Mirzā Hosseinqoli, Abdullāh Davāmi and Mahmūd Karimi, from micro to macro level, based on the concept of Seyir has been examined for this research. This study shows that the Dastgāh modal regulation of the device and the relative pitches within each mode are effective and important in three ways:Depending on the position of a mode in the arrangement of the Dastgāh relative to the Darāmad, the concept of Forūd will require different adjustments.Each modal entity within the framework of the Dastgāh, apart from the relation it finds with Darāmad, also sees a connection with its previous and subsequent modes and will be influenced by them.The displacement of each modal entity inside the framework of the Dastgāh will represent distinct feelings and perceptions of the Dastgāh as a Nobat-e Morattab.Considering the similarities in melody and intervals of the two Mokhālef-e Segāh – Bayāt-e Isfahān-e Qadim and Nayshābūrk-e Māhūr, these two seem to be the same entity that has two different acoustic manifestations in two different uses, creating two distinct perceptions for the listener. Also, the microstructural differences between the Mokhālef-e Segāh and the Bayāt-e Isfahān-e Qadim are due to these adaptations within or separate from the system’s framework. In general, the present study results indicate the existence of subtle changes in each of them, which leads to the expansion of repertoire at different levels.

The tradition of composed pieces in Iranian classical music has developed in the last century and has deeply changed the musical culture. However, the tradition of preserving certain characteristic elements is practiced widely. Study of this repertoire could lead us to a theory of contemporary classical tradition in Iranian compositions. By analyzing certain works, the research reveals that certain concepts are introduced as effective components for Iranian composition. These concepts include: genre, form, process of composition, texture, connection of poetry and music (especially vocal works) and orchestration. In the following study, Chakâd an instrumental piece by Parviz Meshkatian is one of the leading works, analyzed from three aspects of genre, form and polyphony. Examining these components presents the compositional qualities of the work and makes it possible to clarify the framework of composition, the nature of formal thought, as well as the way of weaving in this tradition with contemporary compositional methods. This study, leads us to an introduction of a newer genre in Iranian tradition that has been taking shape since the last century called Ghat’e. Ghat’e is a composed instrumental genre that contains characteristics of all traditional instrumental genres like Pish-darâmad, Chahâr-mezrâb and Reng and simultaneously is totally distinguished from them. This name literally means piece but now, it is becoming a special name for a form of instrumental composition which is more important and lengthy than traditional ones. The Ghat’e throughout its inception, is seeking to being an independent musical language from Radif. The works in this genre try to reach a musical language which can be self-sufficient, especially without the intervention of words. Trying to reach a musical framework without verbal language, essentially leads to a group of criteria that bring together certain aspects of formal thought and structure. These works might be composed in traditional classic forms (like binary, ternary, rondo etc.) or not, but the principle is that all of them have this criteria of formal thought, in order to shape its music form. In the field of polyphony, Chakâd is not an initial example but rather a successful one because it persuaded many musicians that there is a way to organize a polyphonic texture without essentially functional harmony or counterpoint principles. By bringing together a number of polyphonic tips from the classical and older Iranian tradition, this piece makes a texture with two or three different melodic lines while not abiding by Western polyphonic composition. Although, naturally we can hear some chords and harmonic intervals they are not specifically functional or deliberate.

The current research contains a comparative analysis of intervals for the instrument, Robab, as recorded in Al-Farabi’s book, titled Al-Mousighi Al-Kabir.  This research brings together the analysis of this instrument in regards to the Zarlinian scale, in order to find the relation between Robab’s intervals and those of the Zarlinian scale. First, the ratios of the frequencies of the Robab’s intervals have been analyzed. With a brief explanation of the Zarlinian scale, these unique intervals have been compared against the intervals of the Zarlinian scale by means of multiplying and dividing the corresponding mathematical proportionalities. In a reevaluation of the Zarlinian scale, notwithstanding its commonly-known problems which include a perfect fourth with a frequency ratio greater than that of 4:3 and the perfect fifth with a frequency ratio less than that of 3:2, we found another problem regarding the formation of the Zarlinian scale. While researchers currently believe that this scale consists of two kinds of a chromatic semitones, and one kind of a diatonic semitone, this article will prove that this scale is comprised of two kinds of a diatonic scale, and only one kind of a chromatic semitone. Conclusion Findings we achieved in this article could be divided into these divisions as given below:Interval frequency ratios of the Robab instrument, according to Farabi’s aforementioned book, fully conform to that of the diatonic major scale based on the Aristoxen-Zarlinian system of intonation.Lack of conformity of the frequencies of the interval ratios, within the Robab with that of the chromatic Aristoxen-ZarlinianStating a problem pertaining to the Aristoxen-Zarlinian theory of intonation system based on the arrangement of chromatic intervals therein: In former theories, the Aristoxen-Zarlinian scale was believed to contain a kind of diatonic semitone with a proportion of 16:15, equal to 28.02 Savarts, and equal to 111.72 Cents. Also two kinds of a chromatic semitone with proportions of: A. A major tone equal to 135:128, equal to 23.12 Savarts, and equal to 92.17 CentsThe chromatic semitone in a minor tone, with a proportion of 25:24 equal to 17.72 Savarts, and equal to 70.66 CentsGiven a major scale from the upper chromatic semitone based on these proportions, the placement of major and minor intervals would become interchanged. Suggesting a reformative theory: According to findings in this article, the mentioned scale consists of two kinds of a diatonic semitone, and only one kind of a chromatic semitone as explained below: Diatonic semitone in major tone: proportion equal to 16:15 equal to 28.02 Savarts, equal to 111.72 Cents. diatonic semitone in minor tone: proportion equal to 256:243 equal to 22.63 Savarts, equal to 90.21 Cents. And the chromatic semitone: proportion equal to 135:128, equal to 23.12 Savarts, equal to 92.17 Cents. Given the mentioned frequency ratios above, intervals of the Robab will fully conform to the ratios of the chromatic Aristoxen-Zarlinian scale. Also if a major scale would be formed based on these ratios on the upper chromatic semitone, the minor and major semitones won’t get switched anymore.

Since the emergence of the concept of stream of consciousness in the field of fiction, first in the West and then in Iran, several texts have been written in this style. However, this method has received less attention in the field of drama, and has been studied more in the world of fiction. The present study examines the function and manifestation of "memory" from the perspective of stream of consciousness in contemporary Persian dramatic literature, with a focus on the play Khanomche va Mahtabi by Akbar Radi, one of the three major Iranian playwrights. This play is narrated through the eyes of several characters, each belonging to a specific class of society. All these people think about their past, and daydream about the wishes they wanted to fulfil, but are not successful to do so. Therefore, the concept of memory and revisiting each character’s previous issues is of utmost importance in this play. In the current research, after presenting the philosophical, psychological and literary contexts leading to the emergence of stream of consciousness in the West, the main components of stream of consciousness (narrative, discourse, time and plot) are introduced, and the narrative of this play has been taken into account from the perspective of memory. In the play Khanomche va Mahtabi, the playwright has made use of soliloquy, to present her feelings. Khanjun, the main character, presents a soliloquy which is direct and internal, as the author is absent and Khanjun’s internal experiences are directly said through her own mind. As a matter of fact, the author gets soaked in the mind of the character, in order to tell her story through her memories. Naturally, as Khanjun suffers from the mental problems of her age, in some cases, her speech seems illogical. The temporal order of events in her narration is distorted and in some cases, not comprehensible. However, we are connected to five other narrations through the speech of Khanjun. The speeches of this play (both by Khanjun and also the rest of the characters), are mostly in the form of soliloquy. The “aside” technique is also in use, and this gives us the idea that the characters feel as if they are speaking speaking to a virtual audience. Perhaps, this is a limitation in the mimetic nature of drama, which is solved by the reactions of the other characters. All these issues were studied in this play, and the results show that the existence of an "omniscient narrator" in the story is the main difference between the narrative of the stream of consciousness in the story and the drama; and this issue gives "memories" a special importance in this play. Unlike fictional literature, in which the stream of consciousness is seen through a third-person perspective, in the play, the personality perspective allows the audience to hear and perceive the character's memories without any mediation from their own mental language.

The Public Sphere is the gathering of individuals at the same time and same place for conversation, as a prerequisite of its being. The aim of the conversation is to reach a rational consensus and influence the decisions of a governing body. Conversation is a primary element of communication, which serves a purpose for achieving our common goals. Lifestyle and culture effect the means and effectiveness of communication. Iranian people have a different life style compared to Europeans, thus, the process of their communication and conversation is also different. The Teahouse has been considered one example of Iranian public sphere by Jurgen Habermas, a contemporary German philosopher. The Public Sphere had existed in Iranians' teahouses throughout the Safavid, Qajar and Pahlavi eras. Citizens could come to these places, drink or eat, meet others and talk about everything freely and fearlessly. It was an opportunity to work out, decide and settle pending problems and social – political issues. But Teahouses have been under the pressure and control of governments and have not had a continual, dynamic and useful existence. This research tried to associate the theory of Public Sphere to the realm of Iranian plays. Three plays of Esmaeel Khalaj namely Goldoune Khanoum, Jom'eKoshi, Mastaneh, which take place in teahouses and bars, were selected. The aim was to analyze the speculation about existence or non-existence of the public sphere from 1922 to 1932 within these oeuvres. Each dialogue has been analyzed by parameters of correct conversation in the theory of Public Sphere. This research was done through descriptive and analytical method. First the necessities of Public Sphere's formation have been presented, and then conversation as a prerequisite for the formation of the public sphere has been analyzed and the quantity and quality of that necessities have been compared to the aforementioned plays. The results reveal that the concept of the Public Sphere is not effective among the characters of these three plays. The most important cause of this absence is lack of rules and manners of conversation. The characters do not know how to convert their speeches and confabulation to directed conversation; a conversation model that can have some effective output for them. They do not have any practice in conversation and communication skills, due to their lifestyle and background which is mentioned as a contributing factors. Lack of directed, specific and constructive conversation among the characters’ results in a disconnection between the government and its citizens. The government is not aware of the demands of the citizens, so the vital social problems of the people remain in their own Private Sphere. In other words, Avoidance of logical reasoning and the tendency to confabulate are obstacles that prevent the art of conversation from becoming an act of dialogue. Lack of conversational skills in the characters of these plays, cause a monotonous life for them, a representation of lifestyle in the capital of Iran during the 1920s to 1930s.

Christopher Vogler’s hero’s journey, inspired by and adapted from Joseph Campbell’s renowned “Monomyth” is a well-known template and reference for Hollywood screenwriters and filmmakers. Considering the coincidence of Vogler's collaboration in Disney projects with the formation of what is called the Disney Renaissance and the prominence of this template in recent Disney animations, this article examines the structure of the heroine's journey in two of the most popular Disney Renaissance animations Little Mermaid (1989), Beauty and the Beast (1991) as well as the heroine’s journey in Hayao Miyazaki's two popular animations My Neighbor Totoro (1988), and The Spirited Away (2001).  The intent of this comparison is to find how Vogler’s hero’s journey apply to these different animations and also to examine the differences between the journey of Hayao Miyazaki's heroines and Disney's Princesses.This research is a descriptive analytical research. Upon defining each heroine’s journey, this article shows that despite the adaptation of Vogler’s Hero’s journey structure in Hayao Miyazaki's narrative, the non-patriarchal nature of the Miyazaki world stands in contrast to Disney’ patriarchal world where men are the position of power and judge female characters by patriarchal virtues such as obedience and beauty and don’t approve of heroine’s independent and adventurous nature. The existence of complementary female characters in Miyazaki’s works are powerful, independent and kind, and influence the heroine's journey in a positive way while in Disney’s animations the absence of such characters is prominent and the heroine is surrounded by male characters. The lack of traditional antagonists in Miyazaki’s stories allow every character to put on the shadow’s mask and take it off at any turn of the story. Both Disney animations have an antagonist whom wears the shadow’s mask throughout the story and dies at the end of it. Miyazaki’s female protagonists are active throughout their journey while Disney’s Belle and Ariel can be considered passive during the end battle. Miyazaki’s characters undergo greater evolution and growth in comparison to the Disney’s characters who only have minor changes. Miyazaki’s complex world in which character’s desires and journeys are not as obvious and simple as Disney Heroine’s desires, which are sung out at the beginning of the story. The diversity of the Miyazaki’s heroines’ elixirs in contrast to Disney’s elixir of romantic love, a love that would surely result in marriage, are some of the factors that distinguish the journey of Miyazaki's female protagonists from Disney’s heroines. The use of quiet climaxes in Miyazaki’s animations as opposed to Disney's action climaxes in which there is a spectacular scene with a physical fight resulting to shadow’s demise creates a different experience for the audience and distinguishes Hayao Miyazaki's character, narrative and the world from Disney’s black and white world of fairytale qualities.