پیشینه ی همنوازی و چگونگی همنشینی سازها در تاریخ موسیقی ایران (دوره ی اسلامی تا پیش از عصر قاجار) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هدف از تحقیق حاضر، مطالعه ی چگونگی همنوازی در تاریخ موسیقی ایرانِ دوره ی اسلامی است که تعداد و همچنین چگونگی همنشینی سازها را مورد بررسی قرار می دهد. فقدان مبحث همنوازی در رسالات موسیقی، در میان مباحث متنوع نظریه پردازانِ قدیم نکته ای قابل تأمل است که می توان به کم اهمیت بودن مقوله ی همنوازی و برتری تکنوازی در تاریخ موسیقی ایران پی برد. از معدود مواردی که به همنوازی پرداخته شده، کتاب موسیقی کبیر فارابی است که در آن صرفاً مبحث دونوازی بررسی شده و تمرکز اصلی فارابی از تشریح دونوازی ها، تبیین ساختار نغمگی سازها بوده است. با بررسی نگاره ها نیز، به اهمیت تکنوازی در تاریخ موسیقی ایران پی می بریم. در میان تصاویر، بیشترین فراوانی پس از تکنوازی، مربوط به دونوازی است. در دونوازی ها، همنشینی دو نوع ساز زخمه ای و کششی، فراوان ترین ترکیب را تشکیل می دهد و کمترین فراوانی مربوط به ترکیب دو ساز کششی است. در سه نوازی ها، همنشینی دو ساز زخمه ای و یک ساز کششی فراوان ترین ترکیب هستند. تعداد سازهای ملودیک در تصاویرِ همنوازی ها از پنج ساز فراتر نمی رود. از یافته های تحقیق حاضر می توان دریافت قدما علاوه بر ساختار نغمگی، به تعادل سازهای زخمه ای و کششی در همنوازی ها نیز می اندیشیدند. روش تحقیق در مقاله ی حاضر، تحلیلی توصیفی و گردآوری اطلاعات، با استفاده از اسناد و منابع کتابخانه ای است.History of Music ensemble and instrumental accompaniment in the Islamic era of Iran until the Qajar
The purpose of this study is to investigate the trend of developments in music ensemble during the history of Persian music, from the Islamic era up to the Qajar Era. This research is divided into two sections based on the number of instruments in a music ensemble and the accompaniment of the instruments. Music ensembles in Persian history may be traced in both written and pictorial resources. The notable point is the lack of discussion about this genre in Persian music treatises. One reason for this absence of information is due to the significance of the lead singer and solo performances thus overshadowing the music ensemble throughout history. On the other hand, the absence may reflect the importance of theoretical discussions in this treatise where practical aspects of music have been addressed less frequently and have always been under the influence of an almost unique pattern of theory. In this passage, from the book of Farabi, Ketab al-Musiqa al-Kabir, there is one significant reference to a duet performance. We find that regardless of the fact that more than two instruments are present in many performance situations, Farabi has solely focused on a duet performance. As well, his main objective to describe duet performances is to explicate the tonal system in the instruments, because his main attention was to delineate different instruments tones with lute tones. Farabi has been inattentive to other topics influencing music ensemble, as he has only discussed the tones system of the instruments. Other available resources shedding light on music ensemble in history of Iran are iconographic resources. Upon examination of different references, it comes to our attention the significance of solo performances, followed by the presence of a small number of instruments in the background of the images depicting the music ensembles. Accordingly, duet performances are the most frequently depicted and music ensembles with more than five instruments are rarely observed. Solo performance images constitute about 70 percent of all illustrations. Another issue is about the accompaniment role of certain instruments. According to the statistics extracted from analysis of Persian miniatures, a combination of two types of plucked and wind instruments constitute the most frequent images of accompanimental instrumentation. Accompaniment of two identical instruments is rarely observed. In trio performances, a combination of two plucked instruments and a wind or a bowed instrument comprises the most frequent arrangement. Music ensembles with the highest frequencies are those in which there is a balance between plucked and bowed or wind instruments. Analysis of the above results reveals that earlier generations steadily examined the finest balance of sound between plucked, bowed or wind instruments in music ensembles, and were sensitive to which instruments are best complementing each other. Even in a closer analysis of the miniatures, one can realize the importance of music ensembles with certain favored instruments. For instance, the accompaniment of harp and flute followed by harp and lute are the most frequently depicted combinations in duet performances, and the most popular combination in trio performances constitute the arrangement of harp, lute and flute.
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