Journal of Fine Arts: Performing Arts and Music
Year:2020 | Volume:25 | Issue:2|Papers Count:8

The purpose of the current study is to investigate Morteza Hannaneh’ s harmonic approach rooted in Iranian traditional music. The Term Even Harmony which associates with Hannaneh’ s pieces defined as a type of non-fictional harmony based on chords with second, fourth, and sometimes sixth intervals from the root. For instance from the root C, the even harmony’ s chord would be C, D, G, A. Studying Omaggio e Ferdowsci piece, the current paper tries to explore the main features of Even Harmony and its relationship with Iranian traditional music. One may argue that such harmonies can be analyzed as tertian chords (third inversion of a 7th chord with omitted fifth), but it should be considered that choosing these harmonies are different form common tertian harmonies. First, the main focus is on minor second and the fourth intervals instead of thirds; many passages include minor second with omission of other notes. Second, the concept of Even Harmony is related to intervallic structure of Iranian traditional modes, and the harmonic progression will be determined by Iranian modal system. In other words, by choosing the main tones in the mode and its intervallic structure in which the sub modes are formed (Dastgah), the main features of the mode are emphasized. Let us consider (Shure E) including E, F, G, A, B, C, D, and E. Although, Shure and Dashti in traditional music in equal-well-tempered system results in similarities between Shure and Phrygian mode, in Shure, function of tones is different and some special alterations in ascending and descending motions occur in Dashti. Moreover, some variable tones are used in order to ornamentation and modulation. In the mentioned mode, by considering the differences with Phrygian, first degree and fourth degree are prominent tones, so as a pedal element, they can be used in the most of the chords. It should be mentioned that perfect fourth interval is of high importance in Iranian traditional music. Thus, the pedal notes of first and fourth degree can be found in the most of the chords. The Second degree which forms a micro-tone with the first degree, in Iranian traditional music, is a prominent tone and functions a descending leading tone. Thus, in harmonies this degree can be emphasized in an even chord based on first degree. It should be noted that the composer believe that using this minor second can be related to the microtone which exists in the original mode. On the other hand, according to composer's interviews, it can be concluded that, Even Harmony is the result of poly modal approach such as in Bartok's and Ravel's pieces. Nevertheless, in Hannaneh's pieces poly modality occurs in relation to Iranian modal system (Dastgah). To be more specific, a group of melodies and also modes with variable tones are grouped based on a tradition, and they form a Dastgah. In the current studied piece, which is basically in Shure and Dashti, the relationship between the modes, grouped in Dastgah e Shure, is illustrated by means of poly modality. This approach toward poly modality and Dastgah also results in Evan Harmony, because of intervallic structure of Dastgah.

Body is one of the essential components of works in performance art. Since the beginning of performance art history, artists have had a critical approach to social matters and even the artists' reaction to using art works as commercial products has been one of the causes that made them create a kind of live art. The main question of this research is: What is artists' approach to body in performance art for expressing social matters? Body in Deleuze's ideas is more than just a concept of physical body and contains different bodies such as urban body and social body. This paper explains the concept of performance art and investigates the role of body in making performance art's works. Then, by using Gilles Deleuze's ideas about body without organs, we analyze some of the most important works of performance art in order to clear artists' approach to body and it's relationship with social matters. Performance art is a branch of art that mixes other branches and uses body in relation with time and space in order to makes an art work. Most of the works in this branch of art engages audiences actively. Deleuze uses the concept of body without organ in relation of a special kind of thinking about life and world. He recognizes world as a plate of immanence in which life is becoming and not being. He denies all kinds of transcendentality. In his ideas, art should try to make us recognize life as an open whole through feelings. From this point of view, body without organs refers to all kinds of refusing transcendentality in physical or social bodies. Body without organs is not a body in lack of organs, but it is a body against organization. Deleuze warns that just making a body without organs is not enough because it could be an empty or a cancerous body without organs. An empty body without organs is a kind of body that lacks organization, but it is not successful and transverse of intensities being interrupted in it. So, it could not be a plate of immanence that forces flow in it. A cancerous body without organs not only is not a successful body without organs, but is a dangerous body that is dependent on organization and confirms transcendentality. This qualitative research uses descriptive-analytical method and theoretical sampling. The method of data acquisition is desk study. By analyzing performance artists' approach to body, we found: 1. The goal of performance art is to invite audiences for rethinking about physical and social body and as a result of that rethinking themselves and social matters in order to make a body without organs. 2. Sometimes, artists put their body in maximum or minimum threshold, and sometimes they try to make a body without organs of urban or social body in order to reach their goal. 3. What makes a performance art's work successful is to make a full body without organs and not an empty or a cancerous body without organs.

Throughout history, the art of musical performance has continuously posed a critical challenge to musicologists. How do musicians create an expressive performance? Are there given and conscious set of rules that govern musical expression or is interpretation an intuitive act where it is neither learnable nor capable of being instructed. This article reflects on the art of interpretation as one of the most fundamental pillars of musical performance and explores inherent musical elements which shape musical expression. While making an effort in instigating the need for a deeper and more sophisticated approach to the performance of instrumental repertoire, , the article introduces a model for a deliberate and determined process of interpretation in which three fundamental layers are recommended in order to define musical parameters that enhance expression. The three layers, namely the Structural layer, the Aesthetic layer and Musical motion and dynamism are each separately discussed and the parameters underlying each layer are categorized. Although all examples are cited from the flute repertoire, the article's treatment of the examples is transparent and clear-cut and suitable to appeal to all instrumentalists. While providing a pragmatic approach toward simple guidelines for the art of interpretation, the model helps to enhance cognitive capabilities and analytical insights in performers and provides them with a strong basis for aesthetic and artistic judgments which could be used while learning and performing musical works. Within the classifications made under each layer; the Structural layer clarifies the relationships embedded in the phrase structure and highlights the importance of a hierarchical organization of the motivic and melodic divisions in the phrase and calls it the most critical structural consideration in the path to appropriate expression. In the Aesthetic layer, knowledge of historically informed performance and stylistic approach to the music of each period has encouraged the author to highlight and elaborate those elements of performance practice that help performers make aesthetic judgments and cultivate elements intrinsic in the musical style of each epoch. Consequently, aesthetic elements that lead performers to better understand the structural differences in the music of each period are explained in an attempt to clarify ambiguities in performance practice and to encourage the practical application of highlighted elements while performing on modern instruments. In the final but most important layer called Musical motion and dynamism the article has identified elements that present themselves as the source of motion in music. Motivic pulse, melodic inflection, accentuation, and gradations in sound are categorized as the elements that shape melodic motion and dynamism. While emphasizing the critical role played by this layer, the article posits the important position assumed by musical pulse versus meter and tempo and underlies the importance of grouping structures in the formation of musical tension and release and melodic span and closure. In conclusion, the article encourages performers to consider the vital position of the body in the dissemination and management of the flow of energy through musical performance and postulates that musical expression is the sole outcome of embodied performance.

Ab-Pariya is a serial based on mythological and legendary themes that explores the inappropriate state of nature of Iran by relying on the role of "fairy" and its interaction with "human". The cinematic representation of such themes entails fundamental changes in the characters, mythical space and time. In this study, we examine the evolution of the process of transforming mythical phenomena of fairy into cinematic imagery that results from a change in kinship. The present study adopts using the mythical critique and the inter-semiotic approach and Jenetteey’ s hypertextualite theory to examine the mythical aspects of fairy and how it developments and analyze the similarities and differences of the definitions of fairy in literature Persian, Myth and legend With its definitions in the Current and modern world as well as in the cinema and Ab-Pariya series. hypertextualite is a type of Gerard Genette’ s Transtextualite Genette used the concept in order to expand on the Intertextualite theory. The term Intertextualite was coined by Julia Kristeva. Kristeva first applied the term in her studies on Mikhail Bakhtin. In those studies, she set to investigate the relationship between two texts. According to Intertextualite theory, a text may be influenced by some previously written texts by other authors. Hyper-textualite includes “ trigonomy” which refers to the possible differences between present text and previously written texts and “ homogeneity” which refers to the similarities between present text and previously written texts and in some cases its imitation from the previous text. In order to conduct the present study Ab-Pariya TV series is implemented. Findings of the study are analyzed through using descriptive-analytical methods. The study utilizes the library and electronic resources as well in order to analyze the collected data. After careful analysis, it became clear that the most significant myth that was depicted in this TV series is myth of water. In the TV series, Ab-Pary undertakes the duty of water protection. In mythology, this character is equal to Goddess of water (Anahita) and (Amshaspand) Khordad. Among other Pary character in this series are Sabz-Pary and Abr-Pary. Sabz_Pary is symbol of Amshaspandan such as Sepandarmaz and Amordad. Abr-Pary is symbol of Tishtar. In addition, Barf-Pary is another Pary character that appears in this series. She is symbol of Nane-Sarma who is a legendary character as well. Stylistic Translate of has been influenced by media change, but more Thematic Translate has occurred in the evolution of Perry's personality and his interaction with man. The reductions have been in the myths of creation and in the degree of divinity of the gods and Amish Spas, which are plotted in fairy, but the Resonances are more in line with the serial goal (emphasizing the importance of preserving the environment and especially water) and adding Nature related characters accomplished. The function of mythology has also been modified. This change is clear in cases such as change of religious function to non-religious, change in function of time and place, change in function of Pary.

T his study aims to investigate the role of Guilan’ s karna and its multiple functions in the rituals in the eastern region of Guilan. Guilan’ s karna is associated with a set of mental, theological, and historical principles. In this study, using an intertextual discourse, it was attempted to analyze these actions with a new perspective. Therefore, it was attempted to identify, categorize, and analyze the multi-layered functions and concepts of this musical instrument. Guilan’ s karna is the prime example of an object that has substituted its role as the messenger of a terrestrial event (the war) with the messenger of a sacred event (used in the religious background), and has managed to survive after a metamorphosis. In its two distinct lifetimes (from a martial instrument to a sacred one), the musical aspect of karna has always been affected by its symbolic and social functions. From an intercultural perspective, karna is not regarded as a mere wind instrument in a classified organological system, but rather, it is identified as an element that could deliver a message with semantic, verbal, and social loads. According to the findings of the present study, four general functions were identified for the karna: 1. Socio-religious function 2. Symbolic function 3: Expressive function 4. Acoustic function. In addition to the acoustic function of karna as a ‘ messenger, ’ other functions have always been associated with its presence in various rituals. As a symbol of socio-religious function, it is not a mere musical instrument, but rather, it contains theological elements, including participation in religious associations, continuation of a religious tradition, and fulfillment of people’ s vows. These aspects create an external musical identity for the karna. The next functional aspect is its expressive or ‘ speech’ function. Karna can produce only two or three tones and lacks special tone order in terms of melodic motion; however, in terms of rhythm, specific rhythmic figures are usually played by the musicians. Although for the cross-cultural audience, these rhythmic figures with high dynamics have no specific meaning except reference to a reminiscent historical realization and a sound effect, for the players of karna, each rhythmic figure is equivalent to a certain verse of a well-known poem recited during mourning ceremonies. These rhythmic figures are important and symbolic, and the players know what rhythmic figure should be played in front of each mosque or graveyard depending on the time of the certain ritual. For example, for the Tasu’ a or Ashura ceremonies, rhythmic figures that are equivalent to certain verses of a well-known poem are performed. These codes are unknown to the general audience. In addition, the symbolic functions of karna can be studied through semiotics and symbolism. Among its symbolic functions are concepts like bravery, power, majesty, and delivery of a message to immortal and heavenly places. Spatial symbols such as the direction of playing the instrument, and temporal symbols related to Muharram rituals are also factors in the symbolic frame of the karna. These mul-tiple functions show how a musical instrument has survived while retaining its functional metaphors, and has guaranteed its survival by adapting to new performance conditions. Data were collected using field and library studies.

Relevant repertoire of Iranian classical music tradition in recent century concludes many diverse music works which have different paradigmatic relation with Radif as source repertoire of tradition. Works of The century repertoire are also different to each other and so various in terms of musical material. Despite the processes of change which happened in past century in musical life, as ethnomusicologist Bruno Nettl reports in a study on Iranian music (1977), nowadays there are some characteristic elements which Depends on Iranian aspect of a musical piece. According to Nettl (1978), certain elements of a musical tradition are more central than others, as indicated by their pervasiveness in a repertory, the degree to which members of the society accord them primacy in their verbal statements, their tenacity in times of change. This study focuses on searching characteristic elements in Iranian classical music tradition based on these three features above. The method considers two kinds of references. The First a study on written references in Iranian classical music to find which terms are most noticed. Books that discuss Iranian classical music elements and features are two groups in approach. The first are books on theory of Iranian music which come from various types of discourses and viewpoints on case like Vaziri, Farhat, Pourtorab [and others] and Talaei. Rest of references discuss on tradition by Analytical descriptive method like Nettl’ s or During’ s study. The second category of information about characteristic elements in Iranian music comes from two interviews with Abdolmajid Kiani and Dariush Talaei, two outstanding characters of tradition which answer the question “ what is/are the central feature(s) of Iranian classical music? ” this verbal approach is more directly rather than written category because of answering straight question about characteristic elements. Next step is to categorize of defined terms and put together Converge terms. Every term which defined and focused on refers to a certain musical element. The conclusion is attaining to five categories of elements which the references stressed. These features by respectively Abundance are: a group of concepts Focused on structure and variety of Modes which is around some terms like Radif, Dastgâ h, Â vâ z, Gusheh, Maghâ m, a group focused on theoretical scale of musical system and intervals evident in some terms like scales, Microtones, Dâ ng, Iranian special intervals, a group of concepts focused on musical expression like ornaments, accents, hâ l, a group on rhythmic features focusing on some concepts like nonmetric perform (â vâ zi), linguistic based rhythmic structure and a group concepts focused on Iranian classical music genres cognition like bedâ he-navâ zi and composed pieces. These five groups of concepts agglomerate to five central features are structures and variety of Modes, theoretical scale and intervals, musical expression, rhythmic features and certain musical genres. The last problem is a comparison between these characteristics with some middle-east traditions which are cognate musical traditions. Many common characteristics are evident between Iranian music and these traditions which lead to categorize two groups of characteristic elements. The first, familiar elements focused on common Modes, Intervals and Genres. The second is unfamiliar elements which are musical expression and rhythmic features.

w ł odzimierz Staniewski is a reputable director of the recent years with a style of his own. He is also considered the founder and artistic director of the Polish Gardzienice Theater Company, whose performances such as “ An Evening Performance” 1977, “ Sorcery” 1978, “ The Life of Archpriest Avvakum” 1981, “ Carmina Burana” (The Golden Ass) 1990, “ Metamorphoses” 1997, “ Elektra” 2002, “ Iphigenia at A. . . ” 2007, “ Iphigenia in Tauris” 2010, and “ Pythian Oratorio” 2013 have captured the attention of many artists and researchers in the field of performing arts from all across the world. According to many theoreticians and researchers in the field of theater such as Paul Allen, the significance of Wł odzimierz Staniewski’ s creations is most of all latent in the body movements of the actors and the forms of motion in these creations. Identifying the relevant components, resources, roots, and origins that form the body movements of the actors in the Gardzienice theater company, as well as the quality of the arrangement of these motions for theatrical performance and the actors’ accomplishment in connecting with the entire audience throughout the performance process can add to the knowledge and ability of actors, direc-tors and artistic motion designers which in turn results in the production of higher quality performances for those that strive to base the creations of Wł odzimierz Staniewski as a model for their artistic creations. According to the research conducted in well-known national libraries and databases, there are not any documented books, theses, or articles regarding the subject of the present article. However, a number of books, articles, theses, and interviews are available which have considered and investigated other dimensions of the Gardzienice Theater such as Wł odzimierz Staniewski’ s opinions and comments, the interactions between members of the Gardzienice group, the history of the formation and development of Gardzienice Theater, the relationship between Staniewski’ s Theater and Grotowski’ s Paratheater, Staniewski’ s biography, etc., all of which have been used as previous literature for the present article. The present article has attempted to present suitable, sufficient, and referable answers to the question that: From which sources does Gardzienice Theater provide the raw material for its movements and what elements does it use as raw material? Along with this main question, other secondary questions are also answered, each of which beneficially contributes to increasing the knowledge of those who read the present article. The most important achievements of this research consist of the Greek “ Cheironomia” and “ Gesticulate” , the Indian “ Samaweda” , the behavior of Mexican “ Tarahumara” Indians, and the body language of Polish gypsies as part of the origins for the creation of movement in Staniewski’ s theater which in an artistic process forming the movements of Gardzienice Theatre. However, these resources are not utilized separately and in an unprocessed state, and the execution team of Staniewski’ s theater dedicates most of its rehearsal time to forming and developing the motions of its performances while improvisation and native, national, and international music assist the Gardzienice group.

U “ ncanny” refers to a paradoxical feature in which the object creates attraction and repulsion simultaneously, creating a kind of hatred in cognition; it may manifest itself in a disturbing way, seeming familiar and strange at the same time. The purpose of this research is to show how this Uncanniness occurs in puppet performance, accelerating the three-way communication between the puppet, the puppeteer and the spectator, and strengthening the belief that the puppet or object is alive during the performance. For this purpose, the first step is to study reception theory, which refers to the audience’ s reception of the art work and their understanding and interpretation in order to achieve a kind of established knowledge. In the next step, the occurrence of Uncanniness is established through the study of the double vision theory, which analyzes the process of the spectator’ s imagination in bringing objects and puppets to life on the stage. In this study, by considering the Uncanny meanings and by looking at the story of “ The Sandman” by Frederick Hoffman, the characters and the conflict are first defined in the story’ s three opening letters. Furthermore, the psychological conflict of the protagonist, Nathanael, is presented, who is torn between hallucinations and reality. Nathanael struggles his whole life against posttraumatic stress which comes from a traumatic episode with the sandman in his childhood experience. Until the end of the book it remains unclear whether this experience was real, or just a dream of the young Nathanael. The text clearly leaves the decision open in as much as it offers two understandings: that of Nathanael’ s belief that there is a dark power controlling him, and Clara’ s postulation against this by arguing that it is only a psychological element. The story is partly a subjective description of the proceedings from Nathanael’ s viewpoint which, due to enormous psychological problems, is not likely objective – or possibly objectively portrayed. Hoffman consciously leaves the reader unsure. Of central importance is the “ eyes” theme (interpreted by Freud in his 1919 essay, The Uncanny, as fear of castration), the “ steps” , the robot, and laughter. Puppets also have an immortal aspect compared to humans-puppets do not die but human beings do-but the scene is a place for the subconscious mind and the world within the characters. According to Freud, it can be said that the Uncanny factor has had an effect both on the works and the formation of works of the artist in recreating another in the whole work, and has also had an extraordinary effect on the audience’ s perception and it can be said that this modern duality is full of unconscious desires that can be related to cultural desires and order. The conclusive analysis of the data examines how Uncanny happens and forms a connection between the puppet and the unconscious of the audience. The research method is descriptive and analytical based documented resources.