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Showing 3 results for Zaker Jafari
Volume 7, Issue 3 (10-2016)
Abstract
The objective of this article is to describe and classify the occasions on which martial musical instruments used to be employed throughout the history of Iran in post- Islamic eras. Should historical, musical and illustrated documents are investigated, it will be realized that, throughout the social history of Iran in post- Islamic eras, martial musical instruments not only were used in wars but also on other occasions on which the high intensity of sound was needed. Presently, the applications of these instruments are regarded as obsolete. Owing to the fact that the most significant reason behind abandoning martial musical instruments was drastic decrease of their usage, identification and descriptions of such occasions on which these instruments were applied, are of great importance. The situations in which martial musical instruments used to be employed, throughout the history of Iran, fall into the following categories: wars, spreading news, flexing military muscles, hunting, travelling, animals’ shows such as olden circuses, athletic competitions and mourning ceremonies. Among which, wars, spreading news and flexing military muscles of rulers were the most significant of all, in as much as playing martial music on such occasions used to play a crucial role. The rest of the occasions comparatively were of less importance, for they had little political and state consequence and sometimes, they were regarded as merely popular situations. The overall method in this research is descriptive – analytic and gathering data is based on library studies.
Volume 13, Issue 61 (3-2026)
Abstract
The cultural and biological connection of men and women of Guilan with rice farming activities has made their rituals to represent the patterns of planting and harvesting. Ghasemabadi dance is one of those performance rituals that provide an opportunity to exchange content related to society, coordinate actions among group members, strengthen coalition and stabilize group structures. In other words, in addition to the role of people in the dance process, the result and impact of performances in society is important. Therefore, the purpose of the present research is to investigate the importance of performing Ghasemababdi dance and its function to create unity. On this basis, Alan Merriam's theory of functionalism has been used in the context of ethnic musicology, focusing on the function of solidarity. The current research is theoretical in terms of its purpose and descriptive and content analysis in terms of its nature and research method. The method of data collection is library and field using the method of ethnography in the region, observation, interview, registration and recording of information. The research findings show that by displaying movement skills and manual arts and using tools in harmony with traditional music, Ghasemabadi dance creates conditions for the unity of the community so that all people (dancers and spectators) experience various emotions, including the sense of unity of the community and the existence of the community. This is because Ghasemabadi dance provides an opportunity for the performance of individual people directly in a group, both in the formal form of events and in the informal and casual form
.Introduction
Research Background
The background of the research related to Merriam's theory of functionalism is very diverse. In the article "Azerbaijani lovers in the passage of history", according to the definition of ethnic musicology and its function from Alan Merriam's point of view, folk music is considered a very important part of the spiritual life of every nation and its characteristics. Themes like social life and spirituality, courage, love and affection are visible (Sabri, 2013). In a research entitled "Multiple Functions of the Korna Instrument in Religious Rituals and Mourning in East Guilan Region", various functions of the Korna instrument in religious-social, symbolic, spoken and vocal functions are focused and it is stated that in the religious function, this instrument is merely a tool. It is not musical, but has religious and social aspects, including participation in religious organizations, continuity of religious rituals, and fulfillment of people's vows and needs (Gharasou and Zakrajfari, 2019, p. 45). In the article "Usages and functions of the audio-musical phenomenon of sellers singing in the big market of Rasht", it is emphasized that the application of the audio-musical phenomenon in the context of the market includes the four axes of news reporting, advertisement, demonstration and recitation. So far as the function of the songs is concerned, eight axes of communication, symbolic presentation of concepts, expression of feelings, aesthetic pleasure, entertainment, validation of social institutions, help for continuity, cultural stability and help for the integration of society can be formulated (Zhaker Jafari and Mokhtari, 2022, p. 5). In an article entitled "Functions and dysfunctions of Ta'ziyeh music; The case of study, the Ta'zieh meetings of Gudjan Khwansar", it has been stated that music, in addition to its function in line with individual and group activities related to a situation, can also appear under the title of inefficiencies such as the Ta'zieh meetings of Gudjan Khwansar (Abbasi and Maithami, 2021).
.Introduction
Research Background
The background of the research related to Merriam's theory of functionalism is very diverse. In the article "Azerbaijani lovers in the passage of history", according to the definition of ethnic musicology and its function from Alan Merriam's point of view, folk music is considered a very important part of the spiritual life of every nation and its characteristics. Themes like social life and spirituality, courage, love and affection are visible (Sabri, 2013). In a research entitled "Multiple Functions of the Korna Instrument in Religious Rituals and Mourning in East Guilan Region", various functions of the Korna instrument in religious-social, symbolic, spoken and vocal functions are focused and it is stated that in the religious function, this instrument is merely a tool. It is not musical, but has religious and social aspects, including participation in religious organizations, continuity of religious rituals, and fulfillment of people's vows and needs (Gharasou and Zakrajfari, 2019, p. 45). In the article "Usages and functions of the audio-musical phenomenon of sellers singing in the big market of Rasht", it is emphasized that the application of the audio-musical phenomenon in the context of the market includes the four axes of news reporting, advertisement, demonstration and recitation. So far as the function of the songs is concerned, eight axes of communication, symbolic presentation of concepts, expression of feelings, aesthetic pleasure, entertainment, validation of social institutions, help for continuity, cultural stability and help for the integration of society can be formulated (Zhaker Jafari and Mokhtari, 2022, p. 5). In an article entitled "Functions and dysfunctions of Ta'ziyeh music; The case of study, the Ta'zieh meetings of Gudjan Khwansar", it has been stated that music, in addition to its function in line with individual and group activities related to a situation, can also appear under the title of inefficiencies such as the Ta'zieh meetings of Gudjan Khwansar (Abbasi and Maithami, 2021).
Goals, questions, and assumptions
The purpose of the present research is to investigate the importance of performing Ghasemababdi dance and its function to create unity. On this basis, Alan Merriam's theory of functionalism has been used in the context of ethnic musicology, focusing on the function of solidarity.
The current research focuses on group activities for the performance of Ghasemababdi dance and its presentation in various social, cultural and other fields, and seeks to find its function in creating bonds and solidarity between members and different groups in the society.
Ghasemababdi dance accompanied by the native music of Guilan is considered an effort that brings together the members of society to remind them of the necessity of unity and ritual and cultural similarities, and for this reason, people in groups as well as members of society through the rhythm, melody and form of this are affected by dance, and the dancers cause people or the audience to share energy and a sense of euphoria and happiness so that unity and integrity are formed in the space.
The current research focuses on group activities for the performance of Ghasemababdi dance and its presentation in various social, cultural and other fields, and seeks to find its function in creating bonds and solidarity between members and different groups in the society.
Ghasemababdi dance accompanied by the native music of Guilan is considered an effort that brings together the members of society to remind them of the necessity of unity and ritual and cultural similarities, and for this reason, people in groups as well as members of society through the rhythm, melody and form of this are affected by dance, and the dancers cause people or the audience to share energy and a sense of euphoria and happiness so that unity and integrity are formed in the space.
Conclusion
By displaying movement skills and manual arts and using tools in harmony with traditional music, Ghasemabadi dance creates conditions for the unity of the community so that all people (dancers and spectators) experience various emotions, including the sense of unity of the community and the existence of the community. This is because Ghasemabadi dance provides an opportunity for the performance of individual people directly in a group, both in the formal form of events and in the informal and casual form.
Volume 14, Issue 2 (3-2023)
Abstract
The Iranian musical community has experienced actions and conflicts in different historical periods and has passed more conflicts than other professions and social groups. The conflicts of musicians with other institutions of society, including government, religion, people, and even the intra-group conflicts of musicians in different periods became stronger and weaker. The main issue in the present study is to find the types of social conflicts of the musical community of the first Islamic centuries (Umayyad and the first Abbasid Era) in which Iran was also under the control of these governments. During the early Islamic centuries, a new brilliant page of the Middle-Eastern music history was thumbed over following the support and attention by the various social classes and, atop of it, Abbasid Caliphs. The purpose of this study is to identify and analyze types of intra-group and extra-group conflicts based on social conflicts theory. The main question is what social interactions has the musical society of the first centuries of Islam been involved with? And how many groups can these conflicts be divided into? The results of this study show that the layers involved in the conflicts with musicians are in two main groups: intra-group and extra-group. And the intra-group conflicts of musicians, including their classification, the conflicts between traditionalists and modernists, the competitions and debates, the critique and judgment that caused the growth and dynamism of the musical community of that period. The study employed a descriptive-analytical method.
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