مطالعه تطبیقی دو روایت موسیقایی از ابن خردادبه و مسعودی (نشانه هایی از وجود یک متن پهلوی درباره موسیقی دوره ساسانی) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
از میان تمام روایت های موجود درباره الحان ساسانی دو روایت در رساله اللهو و الملاهی نوشته ابن خردادبه و مروج الذهب و معادن الجوهر نوشته علی بن حسین مسعودی وجود دارد که علاوه بر ذکر نام الحان درباره چیستی آن ها نیز گزارش کوتاهی آمده است. بین متن مسعودی و ابن خردادبه همسانی و ناهمسانی های مهمی وجود دارد. با توجه به رأی پژوهشگرانی که متن مسعودی را رونوشت متن ابن خردادبه می دانند و با در نظر گرفتن هم روزگار بودن دو نویسنده وجود این ناهمسانی ها پذیرفتنی نیست. مطالعه نسخه های متعدد از متن مسعودی نیز احتمال خطای رونویسان و مصححان را از بین می برد. چرایی وجود این همسانی و ناهمسانی های پرسش اصلی این پژوهش است. تجزیه و تحلیل موارد هم سان و ناهمسان در این دو روایت با استفاده از روش تحلیل روایت های تاریخی نشان داد احتمالا نویسندگان روایات خود را از مقابله و مقایسه متن دیگری نقل کرده اند. متن مرجع مشترکی به دو خط پهلوی و عربی در دست نویسندگان بوده است. شواهد نشان می دهد این دو متن مخدوش و نسخه عربی احتمالا برگردان متن پهلوی و به شیوه نگارشی اوایل اسلام بدون نقطه بوده است. بر اساس دانسته های پیشین از وجود آئین نامه های ساسانی در موضوعات مختلف می توان متن پهلوی مرجع نویسندگان را بخشی از یک آئین نامه موسیقی به شمار آورد.A Comparative Study of Two Musical Narratives Written by Ibn-e-Khardadbeh and Masoudi Evidence Proving the Existence of a Pahlavid Text on Music under the Sasanid
The Sasanian period, as one of that era's most prominent cultural epochs, is appreciated for its rich and vibrant music. The Islamic written sources are replete with references of this music and praise its beauty and significance. To truly grasp the essence of this music, it is imperative to examine all sources that have documented it meticulously. By delving into Sasanian music's history and evolution, a more thorough understanding can be achieved of that period's musical evolution.Among the narratives written and available on musical modes of the Sasanid era, two narratives are prominent, " Al-Lahve-val-Malahi" and" Moruj-al-Zahb and Ma'aden-al-Jawhar "which were written by Ibn-e Khardadbeh and Ali –ibn Masoudi, respectively. The specific feature of these two treatises is that they mentioned the names of modes as well as a brief explanation of them. Surprisingly, there are some significant similarities and differences among these two treatises. As scholars suggest, Masoudi has copied the book of Ibn-e Khardadbeh, and since both writers lived during the same time period, the contradictions may not be considered plausible. When several copies of Masoudi's text are studied, it reveals that the mistake of those recopied from the main text may not be a good cause as well. This article aims to explain those differences and their causes. The authors analyzed and compared these two texts' similarities and differences, using the historical narrative analysis method. Some differences between the two texts include meaningless words like "Sakaf" or "Madarosnan." These words may have been mistakenly read from Pahlavi's words. Another significant difference is the reference to the number of musical modes. Ibn Khurdadba mentions eight tones, while Masoudi mentions seven. The difference between the two numbers may be due to their writing style in the Pahlavi script. These numbers are written differently in Arabic but very similarly in Pahlavi. Therefore, it is possible that a Pahlavi text was also available to both authors, hence the cause of the misinterpretation and dissonance between the two authors.Also, one can observe differences in the dot's placement in words written similarly. This difference seems to be related to the writing rules of early Arabic texts. In the early writing style of Arabic during the first centuries of Islam, words were written without dots. Thus, it can be assumed that both authors probably wrote their texts based on the same early Arabic style.Finally, the analysis of this article revealed that the two persons compiled their treatises using the same original text in Pahlavid. At that time, the original text was available in the Pahlavid and Arabic. Evidence shows that the two original texts were incomplete, and the Arabic edition was translated from the Pahlavi language and written without "dots." During the Sassanid era, texts called "Aeen Namak" existed. These texts were written to teach various subjects such as Chogan, cooking, chess, and others. It is believed that the Pahlavi text on which the two authors based their writings was “Aeen Namak" about music.
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