Poster design by Razman Goudarzi[/ca
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سخنران: مرتضی عابدینیفرد، دانشجوی دکتری موسیقیشناسی، دانشگاه آلبرتا
در این نشست، سخنران به آلبوم «راز نو» اثر حسین علیزاده می پردازد که علیرغ م به چالش کشیدن رویکردهای مرسوم موسیقی ایرانی، ویژگیهای ساختاری اساسی این سنت موسیقایی را حفظ میکند. یکی از ویژگیهای این آلبوم، تلاشهای موفق علیزا ده در برخی از قطعات آوازی است برای برقراری رابطهای واقعگرایانه بین موسیقی و «معنا» در متن. به عبارت دیگر، موسیقی علیزاده از «ظرفیتهای» متعارف موسیق ی ایرانی فراتر میرود و فعالانه درگیر واقعیت متن میشود، بدون اینکه ساختاره ای فرهنگ موسیقی ایرانی را بهصورت اساسی برهم بزند.
The e
vent recording is now available:
https://youtu.be/ozGixY5bxbs
Presented in English with subtitles.
Presenter:< /strong> Morteza Abedinifard (PhD Candidate in Musicology\, University of A lberta).
Hossein Alizadeh’s musical novelties are distinct from other contemporary composers in an important manner: they seek to activate certa in potentialities within Persian music in order to create fresh sonorities and a novel relationship between sound and text. An example of these innova tional attempts is Alizadeh’s album Raz-i Nuw (Novel Mystery)\, a thoroughl y original approach to polyphony in Persian music\, which he composed for f our vocal lines\, two percussions\, and a melodic instrument (the “Tar” and a modified “Tanbour” in different sections). In my presentation\, I will f ocus on certain novelistic aspects of this musical offering that have decid edly challenged conventional approaches to Persian music while at the same time preserved some significant structural characteristics of this musical traditions. In particular\, I will underline and examine Alizadeh’s efforts in certain vocal pieces in this album where he has succeeded in constructi ng a realistic relationship between music and “meaning” in the text. I argu e that this new approach to text-setting\, although not entirely unpreceden ted among Persian composers\, is particularly interesting in Alizadeh’s mus ic for an important reason: it shapes its musical realism through an inhere ntly local\, i.e.\, Persian\, approach to musical materials. In other words \, Alizadeh’s music goes beyond the conventional “capacities” of Persian mu sic and actively engages in the reality of the text\, without fundamentally disrupting the structures of Persian musical culture.
Mortez a Abedinifard is currently a PhD Candidate in Musicology at the Un iversity of Alberta. Morteza's research interests include music philosophy\ , music history\, and conceptual history. He has been playing the Setar for over 15 years.