كليدواژه :
زنان موسيقيدان , كنيزانِ رامشگر , موسيقي اموي , موسيقي در قرون اولية اسلامي , موسيقي عباسي , نقش زنان در موسيقي
چكيده فارسي :
هدف از تحقيق حاضر مطالعة جايگاه و نقش كنيزان در موسيقي قرون نخستين اسلامي است. نقش مهم كنيزان در پيشبرد موسيقيِ قرون اولية اسلامي و دامنة فعاليت آن‌ها را ميتوان چنين برشمرد: نوازندگي، خوانندگي، آهنگ‌سازي، آموزش موسيقي، حفظ و انتشار ساختههاي موسيقيدانان، نقد و مباحثه و ايجاد فضاي پوياي موسيقايي در جامعه. نظريهپردازيِ موسيقي تنها جنبهاي بود كه بانوان به آن نميپرداختند و بنا به دلايل علمي و تخصصيتر، حوزهاي مردانه به‌شمار ميرفت. از مظاهر توانمندي زنان در موسيقي قرون اولية اسلامي، نقش آنان در آموزش و تربيت موسيقيدانان نسل خود است. شاگردي‌كردن مردان نزد بانوان موضوع درخور توجهي است كه در جامعة مردسالار آن زمان رايج بود. از ديگر يافتههاي تحقيق حاضر ميتوان به نوعي تضاد و دوگانگي در موقعيت و رفتارهاي اجتماعي بانوانِ موسيقيدان اشاره كرد. از يك‌سو اشتغال به موسيقي باعث ارتقاي جايگاه كنيزان ميشد. آن‌ها با آموزش موسيقي به جايگاه بالاي اجتماعي ميرسيدند و همانند شاهزادگان شهرت و ثروت فراواني كسب ميكردند. اما، از سوي ديگر، اشتغال بانوانِ طبقات بالا و اشراف به موسيقي دون شأن اجتماعي و خانوادگي آن‌ها محسوب ميشد. روش تحقيق توصيفي‌ـ تحليلي است و گردآوري اطلاعات به روش كتابخانهاي انجام شده است.
چكيده لاتين :
The aim of this present study is to examine the status and role of female slaves in the music art of early Islamic centuries. The major roles of these slaves in promotion of music during early Islamic centuries are including playing music, singing, composing music, teaching music, keeping and reproducing the music of other musicians, criticizing and holding discussions, and creating a dynamic musical environment in the society. The study employed a descriptive-analytical method, and the data were collected through secondary research. Theorizing about music was the only aspect not addressed by them, which was considered to be a masculine area due to its technical and scientific nature. A manifestation of the prominent position and capability of these women is their role in education and training of their contemporary musicians. The apprenticeship of men under women in the patriarchal society of the time was common, which is particularly interesting. The social status of female musicians during the early Islamic centuries featured a kind of contradiction or duality. On the one hand, music was promoting the status of female slaves who would reach a distinguished social status by teaching music, sometimes acquiring considerable wealth and fame similar to princes and princesses. On the other hand, involvement of women from higher and aristocrat classes with music degraded their social status. The free women and royals were familiar with music. However, their engagement with music was considered below their social ranks, since music was a profession associated with female slaves. In general, the society of the time had a dual standard toward music. The musicians of this period enjoyed a prominent position, while there was a negative attitude toward music itself.
