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Showing 10 results for Music
Pouya Soraee,
Volume 1, Issue 1 (1-2012)
Abstract
Perhaps, the main common aspect in three fundamental perspectives, namely that of art work, artist and audience, is their united convergence in expressing this general axiom: “The Art is Expression”. This essential “Expressive” dignity in many ages and in various cultures can be diverted to “Expressionism”. For example, Opera Music was the conscious representation of reality, or Romantic Music in the 19th century, was generally a transparent explanation of composer’s emotions. According to many thinkers, Expressionism in music occurs when the music is entitled with optional name or accompanied with poems or images. This abstracted meaning of Expression (Expressionism) is related with General meaning of Expression. This Paper, will first present the ontological study of “Expression” and “Expressionism” foundation in music based on descriptive approach. Then, the mentioned descriptive variables are being described in visual Arts. For earning a more exact study, two new terms of “Subjective Expression” and “Objective Expression” are generated by the author and possible interaction between these two terms in fine arts is being argued. Moreover, the subject of transition of expression will be described in music and the author will offer new survey about “Satisfying Parity” in musical cognitions. Consequently, it is concluded that the music is more talented than other arts in transforming and devolving the “objective expression” and “subjective expression” to each other. This might be concluded that, due to volatile- synchronic essence of music, it is different from other visual art.
Esmaeal Panahi,
Volume 1, Issue 2 (4-2012)
Abstract
As the last Roman philosopher and Christian thinker in early medieval period, Boethius played a significant role in the transmission of logical, philosophical and scientific ideas of ancient Greece by translating their works into Latin and through writing commentaries on them. Boethius’ views on beauty and art are drawn upon the Platonic and Pythagorean basics. Although in his original works there is no independent writing on art and aesthetics in its modern sense, his ideas about aesthetics and art are permeated through one of his treatises called De institutione musica. In this paper, I’ll reconstruct and explain Boethius’ view on beauty and art. First, with an overview on his philosophical and theological ideas, I’ll investigate his role in developing the medieval theories of art and beauty and then by remarking specific characteristics of his thoughts on art and beauty, I’ll analyze them. Influenced by Pythagorean mathematical and geometric thinking, Boethius considered the concepts of harmony and proportion in the form as beauty criteria and took the concept of beauty in relation with appearance and phenomenon. He supposes the music as the real art or the liberal art -in his own words - and by expansion of the music concept talks about the cosmic music, the human [spirit] music and the instrumental music. From a Platonic view he recognizes the real (or liberal) artist or musician, one who with an intellectual insight is able to understand the harmony and coordination in the cosmic spheres and human spirit.
Seyyed Kamal Haj Seyyed Javadi,
Volume 2, Issue 5 (2-2013)
Abstract
Every work of art is perceived and understood in a particular spatial-temporal bed. Although the interpreter has a concrete and tangible experience of facing a work, his understanding of work's connotation and denotation is predicated on his beliefs, presupposition and concepts regarding that specific artwork. The main question in this article is whether that the influence of such beliefs and presupposition should be let in for interpreting an artwork or they may result in some kind of totalitarianism and dogmatism.
To answer the above question some presuppositions and beliefs are studied that have been used for interpretation. One of these is the Pythagorean belief in the cosmic music the influence of which can be seen in the interpretation of many thinkers and prominent figures like Plato, Zarathustra, Rumi and others. The other one is Philosophical doctrines and mystical interpretations such pantheism which is also among the most important presupposition used to interpret an artwork.
It will be argued after studying the above presuppositions that interpreter's attachments, beliefs and presupposition not only don't make a bed for dogmatism but also provide a condition in which other criticisms and interpretations will be read again and reinterpreted. It will follow that such a condition leads to new understandings and novel interpretive findings.
Shams -Ol- Molouk Mostafavi,
Volume 3, Issue 10 (4-2014)
Abstract
In Plato’s view the education has a
particular status. For him, it is by means
of education that our souls can be loaded
with virtues and be purified of vices and
then the education makes our souls beautiful
and worthy of divine setting. Plato,
therefore, deals with everything, including
arts and skills, that contributes to educate human beings. On account of the profound
influence of music on addressee, he
regards music as an efficient means to put
into order, refine, and elevate soul. In this
educative process, a man is exalted by the
strongest spiritual powers, i.e. rhythm and
tone, and he comes to the conclusion that
it is possible that the man is attained to supreme
good in the light of true education.
In Plato’s eyes, of course, such education
is the prelude to philosophical education
and its complement.
The aim of the present article is to
show that the reason why Plato places a
premium on music is that it plays the key
role in educating humans, rather than by
virtue of its artistic and aesthetic features.
Considering this aim, the article proceeds
to investigate Plato’s positions on education
in Republic and Law.
Hadi Rabiei, Mitra Ghaffari,
Volume 7, Issue 28 (12-2018)
Abstract
This paper examines the question that from what aspects Avicenna has discussed color and painting in his philosophy. In this research, Avicenna’s dispersed remarks on this subject have been reviewed, categorized, and analyzed. The result of this research shows that Avicenna’s greatest attention to this discussion, is found in his “Poetics” which is a part of the science of logic, and “Natural Science”, especially Psychology and Medicine. He also speaks differently in “The Science of Music” and “Theology”. Avicenna’s attention to painting in the context of Natural Science is largely related to discussions on the way it is perceived and its effects on the soul. The attention to the color, shape and their changes in the sensible organisms, especially the human body, are also studied in Natural Sciences. By contrast, painting as art is mainly discussed in the context of “Poetics” and “Science of Music”. In the context of Theology, sometimes painting applies metaphorically, and sometimes it is considered as a sensible medium for expressing rational realities.
Ali Khaksar,
Volume 10, Issue 40 (12-2021)
Abstract
This research can be considered as one of the studies that seek to explore, in an argumentative way, subtle and solid philosophical concepts in the field of art. The paper provides an analysis of the concept of “extension” in music as one of the most thought-provoking philosophical concepts. The analysis is carried out by interpreting Ibn-Sina’s special conception of musical extension to answer a fundamental question: given that, unlike other arts, music does not use determinate raw materials to create form, and is only related to sounds, and is perceived by hearing, can it be considered as an extended entity? And if so, what components and characteristics does this musical extension depend on? And how can such extension realize itself in music? This study investigates the issue by adopting the method of mental modeling and utilizing qualitative research methods such as structural analysis and structural deconstruction. The study concludes that based on the auditory perception, and despite the lack of a determinable physical form, a range of potential forms of extension can be realized in music. Such realizable extensional forms include a linear-one-dimensional model (horizontal extension of monophonic sounds), a linear-two-dimensional model (horizontal extension of polyphonic sounds), and the spiral-multidimensional model (horizontal and vertical extension of polyphonic sounds).
Saharnaz Berangi, Ali Moradkhani, Yahya Ghaedy,
Volume 13, Issue 50 (5-2024)
Abstract
The present article aims to analyze two approaches, Aesthetic and Pragmatistic, among the approaches to the philosophical field of music education. Pragmatists show how music is associated with the scientific paradigm and socio-cultural actions; on the other hand, music education seeks to increase the ability of perception, experience and evaluation of the aesthetic qualities.This will not be possible without using the aesthetic approach.The question of the research is whether the aesthetic perception of music and its perception as a social action are more compatible with each other, or are the two views completely opposite and contradictory?The method of data acquisition is based on library research and using texts of two approaches since the mid-1950s.The research method is qualitative and based on descriptive-analytical method;for this purpose,the theories of two approaches were taken into consideration in order to achieve the reconstruction of the aesthetic approach by considering the negative and positive attitude of each of them and passing the Bipolarity. In this reconstruction, the paper is relied on the tools, method and philosophical content of music education, which was presented on the basis of the theories of the two mentioned approaches.The results of the research showed that if we consider the aesthetic experience in music more as an act of creating meaning than internal reflections, music is no longer an independent object with an inherent meaning, and there will be no need to abandon the aesthetic approach the way that is done in pragmatism. The aesthetic experience in reconstructing the aesthetic approach refers to the way someone interacts with the aesthetic object, which requires cultural education. Modern education is based on the fact that every child should have the opportunity to expand their abilities to observe, experience, evaluate and create the Beauty. This can be achieved by planning music education using both approaches.
Hamed Younesi, Samad Samanian, Houman Asadi,
Volume 13, Issue 50 (5-2024)
Abstract
Since musical instruments play an important role in cultural music, they have various aspects of conceptual functions related to their approach and have meaningful differences with other historical and cultural works of art. Apart from discussing common arguments in conservation and restoration, getting favorable results is due to knowing the concepts related to music. In classical interpretations conservation, were truth protection and manifestation material assets, but in the contemporary era, conservation is considered a simplifying factor in people`s understanding. The purpose of present study is to know and consider different dimensions of readability in musical instruments (especially sound output) and finally, there is an explanation of conservation and restoration approaches leading to better readability and understanding of the issue. Therefore, this important question arises: which dimension of readability in conservation and restoration process make the issue understandable to audiences? For this purpose, meanwhile introducing various dimensions of musical instruments, conservation and amending approaches to understanding is reached through the ideas prevailing in conservation and restoration research field. After collecting resources and documents in theoretical areas related to conservation, restoration and music, the results will be analyzed through qualitative methods. The study reveals that before any conservation-restoration intervention, it is necessary to be aware of the various aspects of readability in musical instruments (based on the various values available in the instruments) and conservation and restoration process must be reached through a balance between least amount of intervention and the most amount of readability.
Khashayar Fakki, Ilnaz Rahbar, Majid Parvanehpoor,
Volume 13, Issue 51 (9-2024)
Abstract
The small number of specific researches related to the analysis and discovery of effective factors in the creation of universal and lasting musical works has had a negative effect on the quality of the works produced today and has gradually caused the decline of the artistic and musical taste of the audience. By raising this issue, the main goal of this paper is to answer the following questions regarding the effective factors in the permanence of Iranian song, Ey Iran (one of the few musical works with words that are widely accepted in the hearts and minds of Iranian people of all tastes, with different intellectual and religious orientations, genders and ages): Which extra textual factors are effective in the popularity and permanence of Ey Iran song? Which factors within the text are effective in the popularity and permanence of Ey Iran song? The research method in this paper is a descriptive-analytical that follows the analysis of Ey Iran song, both in terms of factors within the text and factors outside the text. While the elements and concepts represented are identified in the song, the effect of these on the acceptability of the song is investigated to further conclude that extra textual factors such as socio-political conditions, mass media and the moods, thoughts, feelings and the way of communication of the artists who were involved in the creation of this national anthem, as well as the narratives combined with the legends in the minds of the public, combined with the factors within the text, such as the type of song writing, the way of making the melody and its arrangement, as well as the personal and technical characteristics of the singer, all have been effective in the popularity and permanence of Ey Iran song.
Hossein Khoshchehrehziba, Simin Azaripour,
Volume 14, Issue 54 (7-2025)
Abstract
Gérard Genet's theory of transtextuality categorizes multiple types of relationships between texts and has been the subject of numerous studies in various fields of art throughout past years. But the analysis and review of musical texts with the approach of transtextuality, especially in Iranian classical music, could be considered a new approach to this field. During the last century, despite various narratives, the Radif text has always been an important reference in the creation of musical works, particularly in non-metric musics. This paper, with a structuralist approach, a descriptive-analytical/comparative method, by means of library texts, and by using the five-fold division of Gérard Genet's theory of transtextuality tries to describe and analyze the connections between the non-metric sections of the album Nava Morakabkhani, which is one of the most important works in the history of Iranian classical music, with Radif. By introducing a new division of compositional types (fixed, close, middle and distant) according to musical encounters in the studied sample and types of intratextual relationships (intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality) with the texts of reference Radifs, respectively those of Mirza Abdullah and Abdullah Davami, the authors have studied and proposed the possibility of new types of morakabnavazi. The results of this research could be used to develop theoretical studies and diversity in musical productions from a practical aspect with the aim of providing mutual exchanges between theory and practice in Iranian classical music. It also shows the necessity and importance of diligence in creating various transformations in the modal arrangement for creating new formal cycles based on the roots of the Dastgah system.
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