Art
Ehsan Zabihifar; Seyed Shahin Mohseni
Abstract
“Mystical Music” is a term that can include a wide range of meanings and many examples of music were defined as mystical in the Islamic period of Iran’s history and some still live on. This research is to define mystical music based on its significance in culture and its examples, rather ...
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“Mystical Music” is a term that can include a wide range of meanings and many examples of music were defined as mystical in the Islamic period of Iran’s history and some still live on. This research is to define mystical music based on its significance in culture and its examples, rather than via studying semantics or the etymology of the words. This study will then introduce the semantic horizon of mystical music instead of one single sense of the term. To do so, first, the significance spectrum of the terms music and mysticism is studied, and then examples are sorted into four categories: the relationship between music and mystical ontology, the relationship of music and intrinsic aspects of culture, music with a mystical influence and its different types in mystical literature, and music in Sufists rituals. In general, twenty-one examples of mystical music will be briefly introduced. Each of these examples represents other instances, making up the spectrum across which the horizon of the meaning of mystical music is displayed.
Art
Mohammad Ali Merati
Abstract
This article takes a critical look at Alan Merriam's book Anthropology (1923-1980), while the history of ethnomusicology considers this work as one of the foundations of the field. The knowledge of musicology and its relation to anthropology after the second half of the twentieth century is somehow gradually ...
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This article takes a critical look at Alan Merriam's book Anthropology (1923-1980), while the history of ethnomusicology considers this work as one of the foundations of the field. The knowledge of musicology and its relation to anthropology after the second half of the twentieth century is somehow gradually tied to the connection between music and Human. This article intends to examine this work in contemporary theories by considering the basic and fundamental axes of “Human Musical”. Probably, the design of some of Merriam’s principles in this book, if he were alive today, would face challenges. The process of this critique will have comparisons in the methods and ideas of comparative musicology that have been revived in the last decade or two with international music associations. But the main focus of this article is the interdisciplinary critique within the field of Ethnomusicology, which believes in the use of theories and methods more independent of the humanities or social sciences.
Philosophy
FathAli Akbari; Malakeh Pandjoo
Abstract
Danishnama-yi ‘Ala’i (The Book of Knowledge for ‘Ala’ al-Dawla) in Persian, Mola publication in 1394, consists of a preface written by Manouchehr Sadoughi Saha, besides four parts; logic, Elme Zirin (Tabiiyyat), Music, and Elme Barin (Theology). This publication does ...
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Danishnama-yi ‘Ala’i (The Book of Knowledge for ‘Ala’ al-Dawla) in Persian, Mola publication in 1394, consists of a preface written by Manouchehr Sadoughi Saha, besides four parts; logic, Elme Zirin (Tabiiyyat), Music, and Elme Barin (Theology). This publication does not include any sections of geometry, charts, and arithmetic. The arrangement of the sections of this work (Mola publication) is in contrast to the intended order of Ibn Sina. Because the special taste of Ibn Sina in the Alaii encyclopedia is that Elme Zirin is to be placed before the Elme Barin and mathematical sections; while, in this work (Mola publication) this feature is taken from the encyclopedia and the Elme Barin follows logic and is posed before music and Elme Zirin. Footnotes of Mohammad Moein in the science section of the book_retrieved from the book published by Anjoman Asar-e Meli, Tehran, 1331_contain references that unfortunately in Mola publication are cited falsely and incorrectly, in contrast to the publication of Anjoman Asar-e Meli. The present study seeks to analyze and criticize the weaknesses and strengths of this manuscript.
Art
Ehsan Zabihifar
Abstract
The Basics of Melody Creation in Composition was published by Markaz publication in 2016. The author of the book attempts to address the subjects of melody in 8 separate chapters. The text is smooth and easy to understand and the book cover design is adorned and unobtrusive. The author's musicologists' ...
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The Basics of Melody Creation in Composition was published by Markaz publication in 2016. The author of the book attempts to address the subjects of melody in 8 separate chapters. The text is smooth and easy to understand and the book cover design is adorned and unobtrusive. The author's musicologists' approach to address the subject, the use of multiple and varied sources, the multiplicity of text-related examples and illustrations, and the abstract and conclusion presentation at the end of each topic were among the most important features of this book. Considering the topics discussed in the chapters and the educational and analytical process presented, a suitable title was not selected for the book. Also, in general, the first, third, and sixth chapters of the book, the main content of which are more coherently raised in other books, cannot be considered a point in this book. In contrast, the perspective raised by the author in Chapters 2 and 8 is a special and useful discussion about the melody that has not been addressed in other Persian-language books.
