كليدواژه :
ريتم , ايقاع , رويداد صوتي , سامانه ي صوتي , بابا افضل كاشاني , افضل الدين مَرَقي كاشاني
چكيده فارسي :
هدف از تحقيق حاضر، مطالعه‌ي چيستي ايقاع، ريتم و ديگر عناصر زمان‌مند موسيقايي است كه در تشكيل يك رويداد صوتي ابتدايي و نيز سامانه‌هاي صوتي، حضور دارند. مفاهيم فوق در مباني موسيقي دوران مياني تاريخ موسيقي ايران و همچنين در دوران معاصر، در بررسي تناسبات زماني اصوات موسيقايي به‌كار گرفته مي‌شوند اما در مطالعات انجام‌شده، به ماهيت اصلي و بنيادين آن‌ها كمتر پرداخته شده است. اين تحقيق با اتخاذ روش توصيفي- تحليلي و به شيوه‌اي كيفي به مطالعه‌ي بنيان‌هاي زمان‌مند موسيقي و انواع سامانه‌هاي صوتي موجود در آن، ازمنظر واژه‌شناسي و بروز فيزيكي آن‌ها مي‌پردازد. اطلاعات گردآوري‌شده‌ي اين تحقيق مبتني‌بر اسنادِ كتابخانه‌اي و اسنادِ اوليه همچون نسخ خطي رسالات موسيقي دوران گذشته، به‌خصوص « رساله‌ي موسيقي» افضل‌الدين مرقي كاشاني است. يافته‌هاي اين تحقيق حاكي از آن است كه يك رويداد صوتي در ابتدايي‌ترين حالت شكل‌گيري، صرف‌نظر از ويژگي‌هايي همچون زيرايي، رنگ، شدت و ديرش، بر چهار بنيان زمان‌مندخيز (تأمين انرژي مضراب)، ايقاع (سكون)، ضربه (نقره) و حركت (تموّج هوا) استوار مي‌شود. اين عناصر چهارگانه همراه با حضور مفاهيم ديرش، عبارت‌بندي، ضربان و وزن، تشكيل‌دهنده‌ي سامانه‌هاي صوتي هجايي، واژگاني، سفيد، مسجّع، ادواري و عروضي در پيوستار سامانه‌هاي زمان‌مند موسيقي هستند. ساختار زماني قطعات موسيقايي مي‌توانند نمودي از يك يا چند سامانه‌ي صوتي اين پيوستار به حساب آيند.
چكيده لاتين :
This research tries to study the quiddity of Īqā’, rhythm, and other temporal musical elements which exist in forming a sonic event and also a sonic system. The above concepts are employed in fundamental theories of middle age and contemporary age as well as of Iranian music’s history. They are usually used to describe the duration of musical sounds. In the studies performed in this field, the main and basic quiddity of Īqā’ & other concepts is less paid attention to. The methodology utilized in this research is based on the descript-analytic method in a qualitative way which focuses on the temporal bases of music and the kinds of sonic systems existing in it, from the aspect of lexicology and the physical expression of sonic events. The information gathered in this research is based on library documents and primary documents such as manuscripts of treaties about music in the past, especially Risāleh Mūsîqî by Afzal al-Din Maraqi Kāshāni also known as Bābā Afzal. The above treaty goes back to The Seljuk period. In this treaty, Bābā Afzal defines Īqā’ as pause (Standstill). This definition is mentioned exclusively in this treaty, and it is quite different from other definitions in other treaties. The findings of this research prove the accuracy of this definition. According to the findings of this research, a sonic event, in its most essential formation, regardless of specifications of musical sounds like pitch, timbre, dynamism, and duration, stands on four temporal bases: Khiz, Zarbe(stroke), Harîkat, and Īqā.’ Khiz doesn’t have an equivalence in the theory of international and Iranian music, and it is talked about for the first time in this research. Khiz is defined as a movement to gain energy to vibrate the source of the sound. Singers and woodwind and brass instrument players breathing, raising hands or fingers in percussion instruments are all examples of Khiz in music. Relying on this concept, a more thorough understanding can be established of the concept of the meter. Zarbe (stroke) is defined as transferring saved energy in the plectrum to the source of sound that makes it vibrate. Harîkat is defined as the formation of mechanical waves in the air, made as a result of the source of sound’s vibration. Īqā’ and its similar concept, rhythm is a pause (standstill) which forms duration by making disruption in the process of movement and its division. These four elements along with the gradual presence of the concepts: duration, grouping, puls, and meter makes more complicated sonic events categorized by bounds as sonic systems. Sonic system due to each of the above specifications presence possesses significant characteristics which are called Hijāi system, Vāzhigāni system, Sefid system, Mosajja’ system, Adwāri system & Aruzi system based on structural complications of sonic events and the order of their occurrence. Sonic systems are organized next to each other and in the above order in one continuum called the temporal systems continuum of music. The temporal structure of pieces of music can be considered as a member of the sonic system of this continuum or a form made of more than sonic systems.
