چکیده:
در رسالات موسیقی قدیم قواعدی جهت ساخت ادوار ملایم ذکر شده است. در رابطه با این قواعد که مهمترینِ آنها وجود بُعد ذیالاربع میان نغمات یک دور است این سوال مطرح میشود که آیا چنین قواعدی در رابطه با موسیقی دستگاهی نیز قابل تعمیم هست، و آیا بهطور نمونه میتوان مواردی مانند تغییر فواصل را از این طریق تحلیل کرد یا خیر؟. هدف از این پژوهش تلاش برای یافتن ارتباط میان فواصل گوشههای دستگاه ماهور از ردیف میرزاعبدالله براساس قواعدی است که تحت نام اسباب تنافر در موسیقی قدیم ایران مطرح شده است. پژوهش حاضر از نوع توصیفی- تحلیلی است. برای تحلیل گوشهها، ابتدا به نغمات مُد اصلیِ دستگاه ماهور رجوع شده و نغماتی که بالقوه فاقد فاصله «چهارم درست» با دیگر نتهای دستگاه هستند، بهعنوان نتهای مستعدّ تغییر، دانسته شدهاند. صحّت این امر در بررسی گوشهها نیز دیده شده است. در ادامه با فرض برقراری قواعد موسوم به اسباب تنافر، به بررسی گوشهها از جمله چیدمان و توالی خاص و تغییر فواصل آنها پرداخته شده است. نتایج حاصله بیانگر آن است که در تغییر فواصل مُد اصلی علاوه بر تأثیر بُعد ذیالاربع، عواملی مانند گسترۀ صوتی هر گوشه، نحوه چیدمان جملات گوشهها شامل؛ متن اصلی و فرودها و همچنین کوک ساز نیز تأثیر دارند.
کلیدواژه: ردیف میرزاعبدالله، دستگاه ماهور، اسباب تنافر، بُعد ذیالاربع، نت متغیّر.
Study the effect of dissonance factors on changings of notes and formation of Gusheh-s in Dastgah-e Mahoor
One of the most important features of Radif as the Iranian music repertoire is the consecutive modulations (modulation chains). Because of that, it needed to have some certain changing notes. Hence, Dastgah as a fundamental concept of this kind of music, has the function that can organize this interrelations between the components of Dastgah, named Gusheh. In this article, it tries to search for the roots of these modulations and finding the probable reasons of the changing notes in Dastgah-e Mahoor from MirzaAbdollah-version. There has not been any obvious explanation in this field in the previous published references yet but there are just some general and qualitative theories. In this article the first step is specification the unattached and semiunattached notes with regarding to the basic scale of Dastgah-e Mahoor. They can be determinate the notes that are prone to change. Unattached and semiunattached notes have defined as the notes that have no perfect fourth interval with other scale notes. These derived from Owen Wright's definition a little differently about unattached note in relating to determinate of consonance ratio. On the other hand, the presence of dissonance factors can exert principals to not to violate some conditions in composing melodies. In this discussion, the perfect fourth interval has a pivotal role. It is not only as a criteria for melodic intervals but is used as important interval for defining unattached or semi-unattached notes and finally for any changing notes. The other dissonance factors are about the sequence and presence of melodic intervals named "Tanini", "Mojannab" and "Baghieh" in a Tetrachord. Safieddin was the first one theorized the arrangements of these intervals for formation of consonance Tetrachords. Definitely, these criteria were for more smooth and beautiful composing. Therefore, they could have utilized in arbitrary or non-arbitrary manner, as criteria in making the melodies including Radif-s gushe-s. In fact, it assumed that the Safieddin's rules, which have occurred before the formation of the Radif-s could be functional afterward.
After check of the perfect fourth intervals between the notes of scale of Mahoor, It understands that the fourth and seventh notes have not this interval between each other. Therefore, it expected that the first changing notes are these ones. The important tip is that the dissonance factors have not been for imposing a special manner but they have been for avoiding of the errors or unpleasant combination of notes. With this, you can justify some Gushe-s like "Shekaste" and etcetera. The complicating matter was the transfer from one mode to another one that because of resolving the dissonance. In other words, more than its work as modulation, they are for resolving the dissonance factors.
In the end, with regard to all of these matters, some other factors must be considering for analyses, e.g. practicable register of the instrument of Tar, condition of the changing notes and condition of expression. For example some changing notes, because of their register, cannot be play in their right octave but appear in other octave.
Keywords: Radif-e MirzaAbdollah, Dastgah-e Mahoor, modulation, changing notes, dissonance factors.
Author: Siavash Sahabi
نویسنده (مسئول): سیاوش سحابی
منتشر شده در نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی، دوره 25، شماره 3، آذر 1399، صفحه 25-34. (https://jfadram.ut.ac.ir/)
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