عنوان پایان‌نامه
مرزهای مبهم وروشن میان موسیقی وگفتار
- رشته تحصیلی
- پژوهش هنر
- مقطع تحصیلی
- کارشناسی ارشد
- محل دفاع
- کتابخانه پردیس هنرهای زیبا شماره ثبت: 7997;کتابخانه مرکزی -تالار اطلاع رسانی شماره ثبت: 43039
- تاریخ دفاع
- ۰۱ مهر ۱۳۸۸
- دانشجو
- فاطمه مصباحیان
- استاد راهنما
- ساسان فاطمی
- چکیده
- در دنیایی که توسط تجربه ی مدرنیته و سرعت و تکنولوژی اش بی ثبات شده است، مفاهیم مطلقاً متعین بیش از پیش نا مطمئن به نظر می رسند. موسیقی و گفتار نیز در وجه کلی از این قاعده مستثنی نیستند. این پژوهش در صدد است که توهم قطعیت و استقلال مطلقی که در رابطه با مفاهیمی چون موسیقی و گفتار وجود دارد و آنها را پدیده هایی مطلقاً ثابت و چارچوب دار تلقی می کند، را مورد پرسش قرار دهد. اگرچه موسیقی و گفتار در بسیاری موارد به حدی باهم تمایز دارند که بتوان تفکیک روشنی بین آنها قائل شد، اما هدف این پژوهش بررسی مرزهای مبهم و نقاط اشتراک آنهاست. برای نیل به این منظور، در فصل اول ابهام در تعاریف و برداشت های رایج در مورد موسیقی وگفتار به بحث گذاشته خواهد شد. در فصل دوم به تفاوت های بنیادین میان موسیقی و گفتار، تاریخچه ی تفکر درباره ی موسیقی انسانهای اولیه، عناصر مشترک و مفاهیم موازی پرداخته خواهد شد. در فصل سوم نیز عناصر گفتاری موجود در آثار موسیقی، نقش آهنگسازان در ورود این عناصر و نقش شنونده در طبقه بندی اصوات مورد بررسی قرار خواهد گرفت. ضرورت عمده ی این بررسی به چالش گرفتن ایده ای است که موسیقی و گفتار را پدیده هایی آشکارا متعین و قطعی می داند و هم پوشانی های آنها را نادیده می گیرد. بازاندیشی این مسائل یاری خواهد کرد تا موسیقی محدود به تعاریف پذیرفته شده نماند و چند بعدی بودن آن و وسعت هستی شناختی شگفت انگیز آن بیش از پیش در نظر آید.
- Abstract
- In a world destabilized by the experience of modernity, its speed and its technology, fixed forms seem more uncertain than ever. Music and speech also, are not exceptions. This research is dedicated to questioning the illusion of determinacy which is around notions like music and speech. The idea that music and speech are perfectly precise and clear-cut concepts will be challenged here. In other words it will be shown that there are many instances in which a sound cannot easily be classified as music or speech. Similarities between Music and speech and the vagueness of the borders between them in many occasions, make it difficult to separate the two with absolute certainty. Although it also has to be mentioned that very often they can be distinguished with reasonable confidence. The focus of this study however, is on examining their points of overlap and the situations in which they become so united that it gets difficult to tell that the sound belongs to which category. To make this point more evident, in the first chapter ambiguities in the definitions of music and speech will be discussed. In most cases the suggested definitions are either too wide so that they are not able to completely separate the two or too narrow so that they cannot account for all musical or spoken forms. In the second chapter along with a discussion of major differences between music and speech, the history of thoughts on primitive people's music and its relation to speech, the common elements between music and speech and parallel concepts in their functional fields will also be considered. These similarities make it easier for musicians to combine the two and make use of spoken forms in their works. This usage and the link between music and speech in different musical forms and genres will be the subject of the first section of the last chapter. The close association of music and speech and their strong attachment in some pieces of music show that they are able to influence one another in more ways than usually expected. The third chapter, beside what was mentioned, will be dedicated to the role of musicians in inserting these elements in musical works and the role of the listener in categorizing a sound as musical or spoken. At the end it will be concluded that music and speech are two poles of a continuum which have a lot in common. Music and speech can also be converted to one another and in many cases the point at which this conversion takes place is not definite or precisely detectable. There are definitely some sounds that are closer to either music or speech but there are also many sounds that cannot easily be categorized. The necessity of such research is to challenge the notion that considers music and speech as totally unequivocal and lucid, and ignores their connections. Rethinking these issues will help music to go beyond the limits of conventional definitions and will make its multi dimensionality and its ontological extensiveness, more evident.
