Sociology
H. Sarvi; H. Mohaddesi Gilvaei; R. Samim
Abstract
This paper discusses the government's view on contemporary Iranian music as well as the relationship between religion and art during the years 1971 to 2018. Thus, the relationship between the two institutions of religion and art was examined through sociological perspectives. For that matter, qualitative ...
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This paper discusses the government's view on contemporary Iranian music as well as the relationship between religion and art during the years 1971 to 2018. Thus, the relationship between the two institutions of religion and art was examined through sociological perspectives. For that matter, qualitative and analytical approaches were applied, with the first relying on historical method where the tool was historical documents (newspapers) and oral history (interviews with elites) and the second analyzing the statistics published by the Music Division of the Ministry of Culture and Islamic Guidance. In terms of data type, this is a historical research. The required data include three categories published by national press between 1971 and 2018, data related to interviewees and those published by the Music Division of the Ministry of Culture and Islamic Guidance from 1982 to 2018. The results showed that the media information, interviews and the Music Bureau data are in one direction with regard to the state of music between 1971 and 2018 in a way that music was completely weakened in the 1980s due to the dominance of religious view on the country. The present study, by examining three data groups, showed the stage of challenges the two institutions of religion and art have faced in contemporary Iran. These challenges have, sometimes, led to severe stances of active and effective forces in these two social institutions against each other. However, artistic forces are gradually in the process to free themselves from the domination of religious institutions and gain independence.
Reza Samim
Abstract
The plurality of the cultural types and goods can be highlighted as one of the most important characteristics of the popular culture. It seems that plurality in societies in transition, which are not the original homeland of this culture, has caused a kind of heterogeneity, which is also evident in Iran ...
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The plurality of the cultural types and goods can be highlighted as one of the most important characteristics of the popular culture. It seems that plurality in societies in transition, which are not the original homeland of this culture, has caused a kind of heterogeneity, which is also evident in Iran as a society in transition. In addition, the consumption space of this culture in Iran, because of the limitations on the production of some types of popular culture, has turned this heterogeneity into conflicting interactions. The challenge between the official and unofficial types of this culture in Iran is an old and problematic one. In the present study, carried out on Tehran's consumers of official and unofficial types of popular music as significant manifestations of popular culture, attempt is made to address this question: how are the consumers of official and unofficial types of popular music constructed? For this purpose, the theoretical and methodological constructionist approach is adopted, and the focus group technique is employed to collect data; finally, the collected data is analyzed using the thematic analysis technique. Based on the extracted themes in each thematic analysis, it was concluded that the consumers of the official type are non-essentialist, nostalgic and lenient subjects, while the consumers of the unofficial type are essentialist, non-traditionalist, monopolist and universalist subjects. This fundamental difference in the subjectivity of the two groups of consumers results in a static conflicting interaction in the space of popular culture consumption.
Reza Samim; Vahid Ghasemi
Abstract
The aim of the present study is to investigate the existence of probable relationship between the popular music consumption and aggressive, anti-social behaviors. we took the fact of the existence of some kind of anti-social aggression amongst the students interested in popular music, as the basis for ...
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The aim of the present study is to investigate the existence of probable relationship between the popular music consumption and aggressive, anti-social behaviors. we took the fact of the existence of some kind of anti-social aggression amongst the students interested in popular music, as the basis for the this study The instrument used to collect data for this project was a self-report questionnaire, not objective observation The questionnaires were distributed to 410 students of the University of Isfahan The interpretation of survey results indicates the existence of an actual and meaningful relationship between the use of popular music and aggressive behaviors Survey results indicate negative feedback about the popular music consumption from the post-Revolutionary era (referring to 1978 Revolution in Iran), and reveal positive response with regard to the use of popular music from the post-Revolutionary era Another interesting result uncovers that the most aggressive students are amongst the audience for the Western genres of popular music (rap, rock, heavy metal) As a result and considering the musicological features of the "popular music" as well as the socio-psychological characteristics of the youth, one may conclude that all types and genres of popular music from the post-Revolutionary era, seem to be more appropriate to the young population of nowadays Iran.
