Sociology of Music
A. Bicharanlou; Z. Khorramishad
Abstract
Adolescence is associated with changes in one’s life including his/her behavior, emotions, and mood. One of the issues less studied about adolescents is how they deal with and receive music. Adolescents raised in the religious environment experience challenges in the process of consuming music, ...
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Adolescence is associated with changes in one’s life including his/her behavior, emotions, and mood. One of the issues less studied about adolescents is how they deal with and receive music. Adolescents raised in the religious environment experience challenges in the process of consuming music, with girls finding themselves in a more complex situation. The main purpose of this study is to study adolescent girls' perceptions of music consumption considering their well-being in the religious cultural context. Questions such as: how do they look at the music they consume, what factors affect their perception of it, how they think about music from a religious point of view and how they approach music according to their religious background, are among the research questions. To answer and finding the factors affecting the reception of music by adolescent girls with religious cultural backgrounds, unstructured interviews were conducted with 23 adolescent girls who have grown up in religious cultural backgrounds and studying in schools with a religious educational approach. Based on the analysis, 4 comprehensive themes on central issue of this research were identified and it was found that adolescent girls' perception of music is influenced by family, society and how they look at religion, even some see music in the same light as they view religious eulogies.
Sociology of Music
M. Mokhtari; M.R. Azadehfar
Abstract
The central enquiry of the present study is how modern and traditional discourses of revolution influenced in shaping, living and dying Chavosh in the context of Iranian traditional music? In this study, we try to adopt an analytical method with a descriptive approach to examine the process of formation ...
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The central enquiry of the present study is how modern and traditional discourses of revolution influenced in shaping, living and dying Chavosh in the context of Iranian traditional music? In this study, we try to adopt an analytical method with a descriptive approach to examine the process of formation and collision of the way a musical discourse may superseded by a new one based on social and political changes within the society. We are particularly seeking to find how new musical discourses appeared over political activates led to 1979 Islamic revolution superseded previous life Iranian traditional music. Chavosh was one of the Iranian band shaped in this stream and tried to combine Iranian traditional music with revolutionary lyrical themes. The musical dimension of Chavosh's works includes components that are related to the “modern discourse” on the one hand and to the “traditional discourse” on the other, and their expression can be clearly traced in Chavosh's works. The intellectual and ideological field of Chavosh music, which is mainly reflected in the song contents, is influenced by the revolutionary tendencies and political atmosphere of the years leading to the 1979 revolution. This style gradually turned to build a new music genre among Iranian traditional music ensembles which continued its life even after Chavosh ended its life. Our findings show that Chavosh's discourse is a synthesis of modernism and traditionalism discourses in between the middle of the Nasseri period in second half of the 19th century and Islamic revolution in 1979.
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.
Art and Aestetics
M. Abbasi; S.H. Meisami
Abstract
Protecting and spreading religious beliefs is an ultimate goal of performing Ta’ziye (in remembrance of the martyrdom of Imam Hussein and his companions) in Iran, a ritual that includes several other structural elements, including music. In existing researches on the subject, influenced by the ...
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Protecting and spreading religious beliefs is an ultimate goal of performing Ta’ziye (in remembrance of the martyrdom of Imam Hussein and his companions) in Iran, a ritual that includes several other structural elements, including music. In existing researches on the subject, influenced by the above approach, none has considered the use of music essential for this ritual and its participants. The current paper tries to study the purpose of using music during Ta’ziye and its impact on the people participating in this ritual. The concept of function as proposed in the basics of ethnomusicology has formed a theoretical framework for this study. As such, the data was collected through a field study and library sources and assessed using the content analysis method. The findings show that all functions of music mentioned by Merriam applied to Ta’ziye. The findings further suggest that the use of music by an individual or group may act contrary to the actual musical functions of that activity. In this article, Khansar Qudjān Ta’ziye has been taken as a case study to show functions and dysfunctions of music during this religious event.
Cultural Studies
P. Javadzadeh; M. Kowsari; M. Ameri Shahrabi; A. Abtahi
Abstract
Among the three main domains of production, distribution and consumption, Iranian national music has specifically received little attention from contemporary researchers. Music has a special place in the Iranian culture since it is shaped by historical and biocultural experiences of this society. But ...
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Among the three main domains of production, distribution and consumption, Iranian national music has specifically received little attention from contemporary researchers. Music has a special place in the Iranian culture since it is shaped by historical and biocultural experiences of this society. But in recent years, Iranian national music has not only lost its social influence but the audience and its social functions as well. Usually, music is distributed in Iran through its producers after obtaining official licenses and reviewing the content of a musical piece. Since Iranian national music is different in contents and requirements compared to other countries, using Western theories to understand its distribution mechanism in Iran may not be very helpful. Also, no research has been done so far to understand the socio-cultural aspects of the distribution mechanism of Iranian national music. This research seeks to establish a comprehensive understanding of this field with a heuristic approach as well as by using the systematic grounded theory. Data were collected via an in-depth interview technique, coded and categorized with three open and axial as well as selective instructions. 23 concepts and 8 categories were extracted from the data. Finally, using the paradigm model, the grounded theory is presented in the form of a story and visual model.
