بررسی تین تینابولی و روند کاهشی و افزایشی در موسیقی آروُ پَرت و مقایسه آنها با برخی روش های تکرار در موسیقی ایرانی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هدف این مقاله، بررسی تکنیک تین تینابولی و روند کاهشی و افزایشی در برخی آثار آروُ پَرت و سپس مقایسه آنها با عناصر تکرار شونده در موسیقی ایرانی است. تکنیک تین تینابولی در دهه هفتاد توسط این آهنگساز استونیایی ابداع شده و در بسیاری از آثار او به عنوان یکی از ارکان مهم در شکل گیری سبک و بافت مورد نظر به کار رفته است. پس از آشنایی با تین تینابولی و پوزیسیون های مختلف آن، روند تدریجی افزایشی و کاهشی که عاملی مهم در پیشبرد قطعات پَرت است مورد بررسی قرار می گیرد. خواهیم دید که چطور این روند بر روی عناصری چون تعداد نت ها در جملات، گستره صوتی (رجیستر) و متر تاثیر گذاشته و موجب تکرار برخی عناصر و همچنین احساس حرکت در آثار او می شود. در ادامه بخش هایی از سه قطعه از او با نام های Für Alina، Fratres و Tabula Rasa که در دهه هفتاد نوشته شده و در سبک تین تینابولی می گنجد با توجه به دو تکنیک یاد شده مورد بررسی قرار خواهد گرفت. در انتها با توجه به تشابهات تکنیک های مورد بحث با عناصر تکرار شونده در موسیقی ایرانی، شیوه های تکرار در این نوع موسیقی معرفی شده، و با تفکرات پَرت مقایسه خواهد شد.The Study of Tintinnabuli, and Additive/Subtractive Process in the Music of Arvo Pärt, and a Comparison to Repetitive Elements of Iranian Traditional Music
The purpose of this article is to study Arvo Pärt's Tintinnabuli technique as well as additive/subtractive Process in a selected number of his pieces, and to compare them with some of repetitive elements in Iranian traditional music. The word Tintinnabuli is originally a Latin word which means "like a ringing bell" or "small bell". The choice of name has roots in Pärt's interest in the sound of church bells and his efforts to recreate them in his music. This technique, which was invented in the 70s, is a two-voice texture, which consists of the notes of the tonic triad (Ttintinnabuli voice) and the melody line which usually moves stepwise. This technique can be defined in four different types (positions) based on the arrangement of the voices; first position-superior, second position-superior, first position-inferior, second position-inferior. In the superior positions the arpeggiation of the tonic triad is placed above the main melodic line and in the inferior type the arrangement is vice versa. In addition to tintinnabuli style, this article investigates the gradual increase and decrease as a leading factor in the structure of the selected pieces. We will reveal how these gradual changes apply to the number of notes in phrases, register and meter, and how they result in repetitive elements. An analysis of portions of Für Alina, Fratres and Tabula Rasa as three significant works written in the 70s based on the discussed techniques will follow the introductory discussion. The analysis will show Für Alina is merely based on the simplest form of the Tintinnabuli texture in first position (inferior). It also features a gradual increase followed by a decrease in the number of the notes throughout the piece. The analysis of Fratres will show that the retrograde relationship plays a prominent role in the structure of the main theme. In this composition we can see a combination of two different positions of the Tintinnabuli technique. Tabula Rasa is the last piece which will be studied in this article. This piece is a good example of interactions between increase and decrease in a variety of factors including meter, number of notes, and register. At the end, due to the similarities between the Pärt's compositional techniques and some of repetitive gestures in Iranian music, we will study examples of repetition in latter genre and will compare them to the Pärt's music. The repetitive elements include strumming the open strings, the repetitions of "shahed" and "eest" notes in the melody, as well as the increase and decrease in the register of the melodic lines with emphasis on pivot tones. A few examples in each category will show how these repetitions in Iranian traditional music are similar to those of Part's compositions. The purpose of this comparison is to identify the simple common aspects of Iranian music which have been practiced for hundreds of years with more recent approaches in Western contemporary music.
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