كليدواژه :
مزوميوزيك , موسيقي مرد م پسند , تصنيف , طقطوقه , موسيقي كلاسيك
چكيده فارسي :
چكيده
بسياري از قوم موسيقي شناسان معتقدند كه طبق هبندي موسيق يها به «كلاس كي » و «مرد مپسند » در برخي از
كشورهاي خاورميانه امكان پذير نيست و اين دو نوع موسيقي، برخلاف آنچه كه در غرب مشاهده مي شود، در
اين كشورها مرزهاي مشخصي با كيديگر ندارند، به طوري كه بسيار اتفاق مي افتد كه موسيقي دانِ حوزه اي كه
ممكن است كلاس كي شناخته شود در حوزه موسيقي مردم پسند نيز فعاليت ميك‌ند و محبوبيت عمومي دارد.
هر چند اين برداشت از زندگي موسيقايي برخي از كشورهاي خاورميانه نابجا نيست، اما، برخلاف تصور اين
قوم موسيقي شناسان، اين درهم آميختگي حوزه ها به هي چوجه منحصر و خاص اين كشورها نيست و درغرب
نيز، در ابتداي پيدايش موسيقي مردم پسند، اين درهم آميختگي به نوعي مشاهده مي شود. مطالعه مقايسه ايِ
مواردِ ايران و مصر نشان مي دهد كه پيدايش و رشد موسيقي مردم پسند، چه در غرب و چه در شرق، از قانون
خاصي پيروي ميك‌ند و استثنايي در اين زمينه وجود ندارد. در واقع، همواره موسيقي مردم پسند در ابتداي
پيدايش، با موسيقي كلاس كي درمي آميزد و سپس در صورت مهيا بودن شرايط مانند غرب و ايران از آن
جدا مي شود و مسير خود را مستقلاً طي ميك‌ند
چكيده لاتين :
Abstract
Many ethnomusicologists think that the classification of the music in two main categories “classical”
and “popular” is impossible in certain countries of Middle-East. They think that these two musical
categories, as opposed to what one sees in the West, are not distinguished clearly in these countries
so that one often can see musicians of a sector, which can be seen as “classical”, are also active in the
popular sector. Although it is not impertinent to interpret the musical life of certain countries of the
Middle-East in this manner, this promiscuity of the sectors, as opposed to what think these ethnomusicologists,
are not specific to these countries, but it can be seen even in the West just at the moment of
the genesis of the popular music. The comparative study of the cases in Iran and Egypt shows that the
genesis as well as the development of the popular music undergoes a determined law, in the West as in
the East, without any exception. In fact, the popular music always is mingled with the classical music
at the moment of its genesis and then, if the conditions are favorable, it separates from it to carry on its
way independently. If the distinction between popular music and classical music in some countries of
the Middle East is difficult for some ethnomusicologists, it’s reason is that they very often forget that
the specific ties that linked the popular and classical musics are, especially in capitalist countries, the
necessary condition of its genesis. The author tries to show that the popular music in Islamic societies
where the market economy began to be installed towards the end of the 19th - early 20th century,
followed, grossomodo, the same way in the West, so that the existence of a more or less general rule
of the genesis and development of this music in the countries with market economy is probable. This
rule is explained primarily by the notion of meso-music that binds the categories of classical and folk
music. Then there are special ties that link the emergent popular music to classical music of the culture
in question. Yet, it must be added that, for the Muslim countries the influence exercised by Western
meso-music, considered (of course wrongly) as representative of Classical Music or “scientific one”
on these cultures. The case study of Azerbaijan shows how this rule can be modified when it comes to
socialist countries that have experienced another economic and social system
