چکیده:
مطالعۀ آهنگسازی در موسیقی کلاسیک ایرانی حوزهای نوپا است. این در حالیاست که در عرصۀ عمل موسیقایی بخش قابل توجهی از کارگان اجرایی سنت ایرانی را آثار آهنگسازیشده تشکیل میدهد. در همین راستا، تحقیق حاضر به معرفی و مطالعۀ قطعه، بهعنوان مطرحترین گونۀ سازیِ از پیش ساخته شده در سنت ایرانی میپردازد. قطعه که تا پیش از این نامی عام برای اشاره به هر اثر موسیقایی بود در مطالعۀ حاضر بهصورت اسم خاص و در معنایی بهخصوص بهکار رفتهاست. در اینجا کوشیده شده تا ویژگیهای گونهشناختی، فرمی و بافتی این گونه تعریف و تحلیل شود. این اطلاعات، بخشی از مبانی بهدست آمده از رسالۀ دکتری نگارنده پیرامون آهنگسازی در موسیقی ایرانی است. در مطالعۀ پیشِ رو، برای ملموس شدن ویژگیهای معرفی شدۀ قطعه، چکاد اثر پرویز مشکاتیان یکی از آثار شاخص عرصۀ آهنگسازی در موسیقی ایرانی به عنوان نمونۀ موردی، از سه جنبۀ گونه، فرم و چندصدایی تحلیل شدهاست. برخلاف اغلب تحلیلهای موجود، مؤلفههایی که در این تحقیق مطالعه شدهاند، عملاً کیفیات آهنگسازانۀ اثر را تشریح میکند و نه رابطۀ آن با ردیف. این شکل مطالعه امکان میدهد تا چارچوبهای آهنگسازی در موسیقی ایرانی از جمله ماهیت اندیشۀ فرمال و همچنین نحوۀ بافتپردازی در این سنت روشنتر شود.
The tradition of composed pieces in Iranian classical music has been developed in the last century and has been changed whole of the musical culture deeply. However, the tradition still carrying characteristic elements of Iranian music widely. So study on this repertoire could lead us to a theory of contemporary Iranian classical tradition. This research has been carried out by using the theoretical foundations obtained from the author's doctoral dissertation on the discourses of composition in Iranian classical music and along the same research method. In the mentioned research, by studying the works and writings, concepts are introduced as effective components on the Iranian composition tradition and are the criteria for analyzing the works. These concepts include: genre, form and processes of composition, texture, connection of poetry and music (especially vocal works) and orchestration. In the following study, Chakad an instrumental piece by Parviz Meshkatian is one of the leading works in the field of composition in Iranian music, analyzed from three aspects of genre, form and polyphony. Examining these components practically describes the compositional qualities of the work, not its relation to the row. This form of study makes it possible to clarify the frameworks of composition in Iranian music, the nature of formal thought, as well as the way of weaving in this tradition. This study, leads to introduce a genre in Iranian tradition that has been formed in last century called Ghat’e. Ghat’e is a composed instrumental genre that contains characteristics of all traditional instrumental genres like Pish-daramad, Chahar-mezrab and Reng and simultaneously is totally distinguished from them. This name literally means piece but now is becoming a special name for a sort of instrumental compositions which are more important and lengthy than traditional ones. The Ghat’e in throughout its life since the birth is seeking to an independent musical language from Radif. The works in this genre try to reach a musical language which can be self-sufficient without the intervention of words. Inclusion of this attempt is development of a term I called it formal thought. Trying to reach a musical organism without verbal language, essentially leads to a group of criteria that form this term. 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 to shape the music formally by using similarity and contrast elements. In the field of polyphony, the piece is not an initial example but is 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. This is all of polyphonic tips in Iranian tradition, making a texture with two or three different melody lines while it is not essentially under western polyphony laws. Although, naturally we can hear some chords and harmonic intervals but there is still not a specific instruction that tells us what is the rules unless some Iranian special intervals called quarter tones.