21. Yüzyıl Klasik Fars Müziğindeki Sanatsal Eğilimlerin Bir Tipolojisi

Bu makale, çağdaş İran toplumunda Fars klasik müziğinin genel görünümü üzerine çeşitli sanatsal eğilimlerin özgün bir antropolojik-etnomüzikolojik tipolojisini sunmaktadır. Bu amaçla, ilk olarak, Fars klasik müziği tarihinin 20. yüzyıldaki en önemli görüngü ya da gerçeklerinden bazılarına değinilmiştir. Ardından Fars klasik müziği alanında en etkin yedi büyük çağdaş eğilim, bir süreklilik (İng. continuum) olarak tanımlanıp, sınıflandırılmıştır. Bu eğilimler arasındaki ayrımın en temel kriteri, her birinin Kaçar müzik geleneği mirasına göre konumudur. Çalışmamız ayrıca, bu yedi büyük eğilimden hiçbirinin, Kaçar öncesi Fars müziğinin yeniden canlandırılması yahut Türk-Osmanlı ve Arap gelenekleri gibi komşu kültürlerin müzik geleneklerine ya da tarihsel kaynaklara referans göstererek günümüz klasik müziğinin zenginleştirilmesi gibi meselelerle ilgilenmediğini ortaya koymaktadır. Diğer yandan, Fars klasik müziği panoramasına 2005 yılından itibaren, yeni ve büyeyen bir “neoklasik akım” eklenmiştir. Bu akım, komşu müzik kültürlerleriyle ilişkili eklektik bir açılım yapmak ve çağdaş uygulamada eski Fars müziğinin kaybolmuş unsurlarını yeniden canlandırmak niyetindedir.

Anahtar Kelimeler:

Pers/İran klasik müziği, Radif, Müzik gelenekleri, Müzikal eğilimler, Süreklilik, Doğaçlama, Metrik / metrik olmayan kompozisyon ve icra

A Typological Perspective of Artistic Tendencies in the Field of Persian Classical Music in the 21st Century

The present article tries to make a study on the panorama of Persian classical music in contemporary Iranian society, proposing an original anthropological-ethnomusicological typology of its varied artistic tendencies. For this purpose, it reminds, first of all, some of the most important phenomenon or facts in the history of Persian classical music in the twentieth century. Then, it identifies and categorizes the characteristics of seven big contemporary tendencies among the most active and influential ones in the domain of Persian classical music, in the form of a continuum. The essential criterion of distinction of these tendencies in this article is the position of each of them with respect to the heritage of the Qâjâr musical tradition. The article shows that none of these seven big tendencies is occupied with the questions like revivification of Persian pre-Qâjâr music or enrichment of the today’s classical practice by referring to historical sources or the musical traditions of neighboring cultures, such as Turkish-Ottoman and Arabic traditions. However, from 2005, a new and growing “neoclassical movement” is born in the Persian classical panorama, which corresponds to an eclectic opening towards neighboring musical cultures and to an intention of reviving the lost elements of ancient Persian music in the contemporary practice.

Keywords:

Persian/Iranian classical music, Radif, Tradition, Musical tendency, Continuum, Improvisation, Metric / non-metric composition and interpretation,

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