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Isfahan's
Hall of
Arts
played
host to
the
first
session
of
Isfahan
School
music
which
went
underway
on
December
13.
Headed
by Jean
During,
the
session
commenced
with an
article
presented
by
Fikrat Kārakāya,
a
Turkish
music
scholar
and
master
of
kamancheh
on the
influence
of
Safavid
music on
Ottoman
music.
The
article,
an
exploration
of
Iranian
traditional
music
which
transferred
to
Ottoman
music
under
the
title,
"Ajam
Music"
composed
by
Iranian
musicians
under
the
condition
of
anonymity.
The
founder
of
Safavid
dynasty,
Shah
Esma'eil
gathered
the
remained
artists
from
Timurids
era from
Herat
and
assembled
them
with the
other
artists
in
Tabriz.
After
Shah
Esma'eil
was
defeated
by
Sultan
Salim
(in
Chaldoran
war),
Sultan
Salim
moved
Tabrizi
traders
and
musicians
in to
Istanbul.
Notably,
most of
them
were
those
who had
already
moved
from
Herat in
to
Tabriz
with the
order of
Shah
Esma'eil.
In this
manner,
Iranian
music
influenced
Ottoman
music.
The next
lecturer,
Ms. Negār
Boubān
made a
speech
on the
accuracy
of
paintings
which
portray
instruments
and
players
in
Safavid
era. The
article
attempts
to
approach
an
internal
criterion
for
answering
questions
regarding
the
paintings
which
portray
instruments.
Also it
tries to
study
the
credibility
of such
paintings
in terms
of
accuracy
of
depiction
and
congruous
and
incongruous
details
of
instruments
and
methods
of
playing.
In her
article,
Ms. Boubān
attempts
to
realize
that
whether
the real
structures
of some
musical
instruments
like
Kamancheh,
Oud,
Tanbur,
Sorna
and
Naqareh
are
recognizable
through
the
observations
of
remained
paintings
or not.
Following
the
session,
Kayvān
Pahlavān,
the
music
researcher
introduced
his
article
on a
musical
form in
Safavid
era
called
Taleba-Khani:
"Taleba
is an
oral
versified
narrative
which
originated
in
Safavid
era and
due to
its
beautiful
melodies
and
narrative
has
turned
to a
kind of
cultural
heritage.
It is
still
the most
popular
versified
narrative
in
Mazandaran.
One of
the
prominent
poets of
10th
-11th
A.H. is
Taleb Āmoli
and in
this
article
I follow
his life
and
career,
also I
intend
to
describe
Taleba
versified
narrative
and its
analysis
from the
musical
aspect,"
he said.
The
director
of
Research
Center
for
Scripted
Heritage,
Akbar
Irani
accounted
for
Faiz-e
Kashani's
ideas on
music:
"Music
is among
the
issues
which
Islam
took a
vivid
stance
towards
them.
Before
Islam,
various
kinds of
local,
popular,
epical,
vulgar,
political
and
religious
songs
were
usual.
The
farewell
and
welcoming
music,
the
music of
God, the
music of
war and
a music
in the
"centers
of
corruption",
parodic
music
and
ritual
music
which
was
performed
while
the
totems
were
prayed
were all
usual.
Naturally
Islam
defied
the
kinds of
music
which
were
against
humane
virtues,
like
parodic
music
and
vulgar
music or
the
songs
which
denied
the
unity of
God.
Faiz-e
kashani
was
among
the
Foqaha
of
Safavid
era who
perceived
the
cultural
situation
and
realized
the
social
problems
of
Islam's
establishment
period,
then
introduced
an
appropriate
religious
jurisprudent
view. He
is among
those
Foqaha
of
Safavid
era who
declared
that
music
essentially
is
lawful
according
to Islam
and
regarded
it as a
Godly
gift.
His
mystical
remarks
made the
other
Foqaha
more
sensitive
to his
mysticism,
since in
terms of
Sama'e
(Sufi
songs),
Sophists
introduced
an
inappropriate
form,"
he
stated.
Ali
Mir-Ansari
presented
the last
article
of the
session,
"The
Farsi
Biography
Writing
and
Statistics
on Music
and
Poets-Musicians
in
Safavid
Era."
In his
article
Mir-Ansari
indicated
to the
unbreakable
relation
between
poetry
and
music.
Such
relation
could be
established
between
the
poems of
a poet
and the
performance
of a
master
musician.
Sometimes
a great
poet
like
Roudaki
was
combining
the
poems
and
musique
in such
a way
which
became
involved
in
political
affairs,
for
example
once he
wanted
to
motivate
the
Samani
king to
return
to
Bukhara.
Despite
some
governmental
policies
which
were
expected
to
impose
some
limitations
on
developing
poetry
and
music,
in
Safavid
era,
these
arts not
only
limited
but also
improved
in terms
of
variety
of their
relationship,
also
poets
paid a
specific
attention
to
music.
In his
article,
Mir-Ansari
considers
the
extent
of
relation
between
the
poets in
Safavid
era with
music
and
general
situation
of music
at those
times.
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