A COMPARATIVE STUDY OF MUSICIANS AND INSTRUMENTS IN KULE-FARAH I, III AND IV: NEO-ELAM MILLENNIUM BC

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DEHNAD NEDA; DEHNAD NAZANIN; ZAFARMAND SEYED JAVAD

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Journal: JOURNAL OF DERAMATIC ARTS AND MUSIC Year:2015 | Volume:5 | Issue:10 Page(s): 111-127

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Title

A COMPARATIVE STUDY OF MUSICIANS AND INSTRUMENTS IN KULE-FARAH I, III AND IV: NEO-ELAM MILLENNIUM BC

Author(s)

DEHNAD NEDA | DEHNAD NAZANIN | ZAFARMAND SEYED JAVAD | Issue Writer Certificate

Keywords

KULE-FARAHQ2

MUSIC OF ELAM PERIODSQ2

HISTORY OF ELAM PERIODSQ2

ELAM STONE RELIEVESQ2

SYMBOLISM OF MUSICAL INSTRUMENTQ2

Abstract

KULE-FARAH area or Narsyna Temple, in the north of Ize, consisted of 6 stone relieves since about 2500 to 500 (BC) new Elam periods. Religious ceremony theme with music is one of the most important issues of stone relieves in KULE-FARAH, I, III and IV that shows a group of musicians and the largest documented collection of musical instrument of Elam Era. This study aimed to understand the evolution and application of two main factors in instrument and position of musicians in these three stone relieves. This study analyses pictures of 3 stone relieves of 6 available stone relieves in KULE-FARAH area and used relevant information and library studies and field investigations. We took some photos of KULE-FARAH and recorded movies in this area. The results have been compared with previous studies. Finally, the dimensions of each stone relief (Length, width, height, figures) and their issue would be presented. To analyses the stone relief of musicians, the similarities and differences (type of orchestration, dress, hair, social status, location and position of them) among three stone relieves are mentioned. In conclusion, musicians should be considered as main members of temple that have played a major role in advance the rituals of worship. Their position in the scene reflects the importance of their role during the religious ceremony. In the stone relieves I and III, musicians are presented during the religious rituals and beside animal sacrifice, but in the stone relief IV we can see a General Banquet whose guests are eating. Numbers and figures of musical instrument in the Elam period had the evolutionary process. Diversity and increasing number of instruments increases the doubts about historical continuity and interconnected with the evolutionary process of musical instrument in the Elam period. Orchestra of III is consisted of three harpers vertical, Orchestra of IV consisted of one conductor that is in front of 6 musicians -they have two kind of stringed instrument (horizontal and vertical grip). Structure of orchestra of I is most orchestra diverse -it has three musical instruments for three musicians: two stringed instruments, a harp and vertical and horizontal harp percussion square. Musicians’clothing, hair and the faces without beard shows gender differences in male and female. In stone relieves IV and III, musicians are dressed in short robe and in stone relief I they are dressed in long robe. In these three stone relieves musicians have fastened their hair and have no beard. Symbols are used to show feminine of musical instruments: harp and drums, long robe, hair tucked behind and the faces with no beard. According to the long robe, musicians of KULE-FARAH I that historically is more recently than III and IV, emphasis two points: 1. The possibility of presentation of the female musicians in Elam court land, 2. The increasing social status of musicians in Elam court.

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APA: Copy

DEHNAD, NEDA, DEHNAD, NAZANIN, & ZAFARMAND, SEYED JAVAD. (2015). A COMPARATIVE STUDY OF MUSICIANS AND INSTRUMENTS IN KULE-FARAH I, III AND IV: NEO-ELAM MILLENNIUM BC. JOURNAL OF DERAMATIC ARTS AND MUSIC, 5(10), 111-127. SID. https://sid.ir/paper/261156/en

Vancouver: Copy

DEHNAD NEDA, DEHNAD NAZANIN, ZAFARMAND SEYED JAVAD. A COMPARATIVE STUDY OF MUSICIANS AND INSTRUMENTS IN KULE-FARAH I, III AND IV: NEO-ELAM MILLENNIUM BC. JOURNAL OF DERAMATIC ARTS AND MUSIC[Internet]. 2015;5(10):111-127. Available from: https://sid.ir/paper/261156/en

IEEE: Copy

NEDA DEHNAD, NAZANIN DEHNAD, and SEYED JAVAD ZAFARMAND, “A COMPARATIVE STUDY OF MUSICIANS AND INSTRUMENTS IN KULE-FARAH I, III AND IV: NEO-ELAM MILLENNIUM BC,” JOURNAL OF DERAMATIC ARTS AND MUSIC, vol. 5, no. 10, pp. 111–127, 2015, [Online]. Available: https://sid.ir/paper/261156/en

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