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Information Journal Paper

Title

AN ANALYSIS OF THE FORMATION AND GENERIC CHANGES OF RESISTANCE MUSIC IN IRAN FOCUSING ON GENERIC CHANGES OF RESISTANCE MUSIC DURING PRE AND POST-REVOLUTIONARY IRAN

Pages

  33-63

Abstract

 This paper seeks a semantic explanation of the RESISTANCE MUSIC in Iran and attempts to analyze the general structural specificities surrounding RESISTANCE MUSIC in Iran, The methodological consideration of launching this study includes critical DISCOURSE analysis of Van Dijik and the application of explorative methods in order to reveal major concepts of resistance engraved in lyrics of the products marked as RESISTANCE MUSIC. Another methodological consideration includes a comparative analysis of the music products in pre- and post-revolutionary Iran so that we could indicate the changes that the RESISTANCE MUSIC has gone through during five decades starting from 1960.This paper contributes to the body of knowledge in areas such as media and cultural studies, sociology of art, and Iranian cultural studies. It is related to sociology of art because the arguments consider local specificities to have been contributing to the generic production of Iranian RESISTANCE MUSIC. Meanwhile, the paper pays attention to untold mysteries of Iranian cultural studies. At the same time, it pays attention to everyday life in Iran, something that makes the paper fall in the category of general cultural studies.With this introductory point we can claim that this paper uses a multidisciplinary study is to address the problematic of RESISTANCE MUSIC in contemporary Iran. The paper claims it has revealed some aspects of Iranian society including RAP/fa?page=1&sort=1&ftyp=all&fgrp=all&fyrs=all" target="_blank"> PERSIAN RAP and its differences with Iranian RAP that have been neglected by academic works.In order to study RESISTANCE MUSIC, we have compared productions of RESISTANCE MUSIC both in pre and post-revolutionary periods.The final results of our analysis indicate that the requirement of each historical period of time affects the texture of the dominant music. Prior to 1979 revolution, as the political situation did not provide an open atmosphere for expression of genuine Iranian art, the artistic activities including production of music took the resistance orientation. Although we do not intend to mystify the musical production of RESISTANCE MUSIC, RESISTANCE MUSIC was the dominant and attractive area in the production of music. Two decades of 1960s and 1970s are now known as the golden age of Iranian music, not only because music was leading it but also because the number and variety of musical production and singers of all genres. In the 1970s, however, it was the RESISTANCE MUSIC that attracted the young generation.The post-revolutionary period, however, was if a different type both in terms of the collapse of the old world order and in terms of change of desires and aspirations of human being sat the local and global level. Although the texture of resistance in pre-revolutionary period was mostly political, in the post-revolutionary it changed into a multidimensional texture. First of all, the period between 1979 and 1988 was different, as Iran was experiencing the Iraqi imposed war on Iran. There was not much musical production in this period that could be marked as RESISTANCE MUSIC except what was produced abroad which expressed resentment against war. There were some other fractions of Iranian exiles that produced RESISTANCE MUSIC, but they were not much welcomed by the Iranian audience.There was also the period between 1988 and 1997 that was marked as a period of transition from war mood to construction mood. It was the post 1988 period that gradually turned the musical production into a period of stable and steady situation suitable for production of new RESISTANCE MUSIC. The post 1997 came with socio-cultural, political, economic, and demographic changes. As a result, when we started studying RESISTANCE MUSIC in 2007 and 2008, we realized that politics constructs only a part of the everyday life of new generations. Generations’ gap and gender gap had brought about new desires in Iranian young people, which could be tracked in their musical production and musical desires. Therefore, this study indicates that the new wave of RESISTANCE MUSIC uses various pop and RAP music genres to express cultural resistance as opposed to political resistance that was so prominent in the 1970s.

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    APA: Copy

    ABDOLLAHIAN, HAMID, & NAZER FASIHI, AZADEH. (2010). AN ANALYSIS OF THE FORMATION AND GENERIC CHANGES OF RESISTANCE MUSIC IN IRAN FOCUSING ON GENERIC CHANGES OF RESISTANCE MUSIC DURING PRE AND POST-REVOLUTIONARY IRAN. SOCIOLOGICAL JOURNAL OF ART AND LITERATURE, 2(1), 33-63. SID. https://sid.ir/paper/164088/en

    Vancouver: Copy

    ABDOLLAHIAN HAMID, NAZER FASIHI AZADEH. AN ANALYSIS OF THE FORMATION AND GENERIC CHANGES OF RESISTANCE MUSIC IN IRAN FOCUSING ON GENERIC CHANGES OF RESISTANCE MUSIC DURING PRE AND POST-REVOLUTIONARY IRAN. SOCIOLOGICAL JOURNAL OF ART AND LITERATURE[Internet]. 2010;2(1):33-63. Available from: https://sid.ir/paper/164088/en

    IEEE: Copy

    HAMID ABDOLLAHIAN, and AZADEH NAZER FASIHI, “AN ANALYSIS OF THE FORMATION AND GENERIC CHANGES OF RESISTANCE MUSIC IN IRAN FOCUSING ON GENERIC CHANGES OF RESISTANCE MUSIC DURING PRE AND POST-REVOLUTIONARY IRAN,” SOCIOLOGICAL JOURNAL OF ART AND LITERATURE, vol. 2, no. 1, pp. 33–63, 2010, [Online]. Available: https://sid.ir/paper/164088/en

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