هنرهای زیبا: هنرهای نمایشی و موسیقی
سال:1392 | دوره: | شماره: |تعداد مقالات:7

transcription of a musical piece from an instrument to the other, is an age-old work in this field. We have scores from the Renaissance period that don’t have any specific orchestration therefore could be performed with any combination of instruments. Also transcription of symphonies or operas for piano was common during the nineteenth century. We look over four editions of Bach’s first suite for lute and its transcriptions for the modern guitar, and during introducing the piece, at first we estimate them generally, then compare every aspects such as pitch, fingering, positions on the fingerboard, tone register, and etc. The target is to present some factors to differentiate a reasonable edition to catch rational performance of pieces like this. However there are some inconsistencies that challenge the originality of the work. Such activities always have many disputable cases. Constantly there are some attitudes that assume such tasks as a futile work that doesn’t have any originality. However such disputes aren’t so many about the similar instruments.Though this is the modern guitar that we have in a huge number in the world. Reaching to a source for the classic guitarists that have been tired from classical period frames, absorbed them to the sounds of Baroque music. But the main issue is how to come to grip with such great pieces, and the course of using our modern instrument’ s capabilities. We have to lay hands on prestigious status of these masterpieces, instead of letting them down. During the review of different editions available, we find out that dealing with different perspectives on performance; techniques, musical expressions, tone color, and etc. to achieve a single view, makes it extremely difficult. When speaking about different transcriptions and editions we should not expect essential changes in the presentation of these works, but there are a lot of distinguishing details which illustrate different editors’ outlook to this piece; details such as using ornamentations, different tunes, and even changing the key –although this last case can not be applied in this particular piece-. Moreover, editors from several nations observe works differently because of their ideological differences. In the part of samples, we will study some of diverse opinions or agreements among four editions and occasionally differences from the original work, and we will consider results of their works based on aesthetic and technical reasons. However the samples are more than those we refer. In the course of this process in some cases we are compelled to refer even to the works out of this matter –for example transcriptions of the other pieces by the editors –and to consider basics of the editors’ attitude and works carefully, by using them. Ultimately we try to distinguish fine or inadmissible points of the editions. The editions are: Heinz Teuchert (1979), Julian Bream (1981), Ruggero Chiessa (1991), and Frank Koonce (2002).

focusing on spiritual and mental needs of slow-pace people i.e. mentally retarded people has been always an integral part of designing spaces for them. According to Lacan’sway of thinking, Real, Imaginary and Symbolic Orders are three ways of expression through human’s reality language and usually reality is considered as a combination of symbolic and imaginary orders. This research analyzes architectural spaces of Dodeska-den directed by Kurosawa in 1970 and it considersLacan’s Three Principal Orders, Real, Imaginary and Symbolic, from the viewpoint of a slow-pace person named Rokkuchan who narrates the story.As an appropriate way to create a connection between what Rokkuchanassumes and the symbols made in human minds of his society, he visualizes realities existing in poverty, fear and death in shanty-dwelling society in one point and goodnessin another, with the contrast between Rokkuchan and his society, continuously throughout the film in particular architectural spaces. The research contains an analytical- descriptive method with a combination of quantitative (theory to case) and qualitative (case to theory) methods.Lacan’s way of thinking is a deep functional psychoanalytical critique which tries to reveal hidden dimensionsof human existence.Kurosawa creates the same viewpoint when depicting unconscious feeling of social relations’precision. Explicating mirror stage theory, Lacan explains children psychology and social theory as an external image of the child that he himself accepts.He introduces three principal orders that are models for analyzing Dodes-ka-den. Lacansupposes imaginary order as one which humiliated human in modern era, i.e. it is an evident dimension of personality. Symbolic order depends on the environment an individual grows in. Real order is the same hidden personality that is meaninglessand nonsense sometimes. Kurosawa exploits this tool to organize shanty-dwelling society symbolically and from the viewpoint of a slow-pace person named “Rokkuchan”. He also reminds the contrast between Japan’s modern life, the symbol of which is car, and its traditional society with houses as a symbol, at the beginning of the film and he continues this throughout the film. Like a train and a train driver sometimes, Rokkuchan drives life in Lacan’s three principal orders. He displays shanty-dwellers’life with its unpleasant dimensions. Rokkuchan’s life train passes through all these sorrows and the dwellers, as wagons of this train, are another life train. This research shows thatspatial sense of slow-paces can be found through analyzing film spaces and shanty-dwelling society represents facts of slow-paces’ lives, e.g. designing spaces based on sick, crazy and retarded minds among this society in Dodes-ka-den. Regarding Lacanian psychoanalytical orders, Kurosawa was influential in designing scenes, inner architecture, landscape and sense of place. He has been successful presenting architectural spaces in this regard except for parts related to Imaginary order, since theywere formed artificially.He visualizes all unpleasant issues a slow-pace may face with during life.Eventually, providing a method of viewing cinema, architecture and psychoanalytical analysis, hidden concepts of space design regarding a slowpace teenager are presented from Kurosawa and Lacan’s viewpoint.