كليدواژه :
كنسرت , انجمن اخوت , مشروطه خواهان , گراند هتل , پيش درآمد
چكيده فارسي :
در اين مقاله به شكل گيري كنسرت و تحولات پس از آن در دوران قاجار مي پردازيم. محدوده ي زماني مورد مطالعه از دوران ناصري تا انقراض قاجار و روش تحقيق روش اسنادي و تحليل داده هاست. ساختار مقاله بر اساس تغييرات مهم مكاني است كه الويت زماني را در هر دوره مد نظر قرار مي دهد. آشنايي ايرانيان با كنسرت در غرب نخستين گام پيدايش كنسرت در ايران بود. انجمن اخوت نيز در برگزاري كنسرت نقش مهمي ايفا كرد. همزماني اين تحولات با جنبش مشروطه، احزاب وقت را در برگزاري كنسرت هاي عمومي ترغيب مي كرد. عارف قزويني و درويش خان از مهم ترين پيشگامان برگزاري كنسرت به شمار مي آيند. غزليات و تصنيف هاي سياسي عارف كه در كنسرت ها ارائه مي شد، نقش مهمي در تهييج افكار عمومي داشت. تاسيس سينما و سالن گراند هتل در خيابان لاله زار سبب برگزاري نخستين كنسرت هاي خصوصي شد. ابداع گونه ي سازي پيش درآمد از نتايج كنسرت ها قلمداد مي شود. در كنسرت به تصنيف و رنگ توجه بيشتري شد. به تدريج كنسرت هاي غربي نيز برگزار شد. با گذر زمان بر تنوع كنسرت هاي ايراني و غربي افزوده شد. مي توان كنسرت را از مهم ترين پديده هاي موسيقايي پس از مشروطه دانست.
چكيده لاتين :
In this article, the emergence and development of concert in Qajar era are studied; the period between Nassery
(The king Nasserdin shah) era and Qajar dynasty’s downfall. In this article we are going to introduce the
background of one of the most important events in modern history of Iranian classical music that in addition
to social aspects of music, has affected the performance of Iranian classical music. The methodology of
this research is based on documentation and analysing the data. The structure of the paper is built on spatial
important changes in which time priorities are considered. So, we divide the era into four periods; 1.acquaintance
with the concert in the west and The Royal School of Iran by kings and dignitaries, 2.performance in
Zahirodolle private gardens, 3.performance in public parks by different political parties, 4.performance in
theater and cinema halls with various motivations. Iranian acquaintance with concert in the west and Iran
caused emergence of the first concerts in our country. Anjomon Okhovat, social Sufi institution, played a
very important role in conducting the orchestra and concerts. Along with these developments, Mashrouteh
Movement encouraged parties to hold public concerts. Concerts organized by Constitutionalist in different
cities, led to the development of this new phenomenon. Aref Qazvini, poet and musician, and Darvish Khan,
musician, were pioneers in this way. Aref’s political Gazaliyat (lyric poems) and his Tasanif (popular songs)
excited the public too much. The first private concerts were performed in new Grand Hotel and cinemas halls
located in Tehran, Lalezar Street. People liked theater and performance, therefore they should be considered in
concerts. Due to this important matter, Tasnif and Reng were paid attention. Creation Pishdaramad which was
performed as an introductory, and made familiar the singer and audience with atmosphere of the music, was
one of the achievement of concerts. Gradually, European concerts were introduced and concert organizers,
Persian and western, increased. Concert was one of the important phenomena that could gradually move
Iranian classical music from the royal or aristocratic circles to the social middle strata. Thus, a number of
singers, instrumentalists and composers who were known among aristocrats only, little by little got popularity
among ordinary people. Concerts could play a very important role in promotion of political opinions and tried
to meet the important needs of the Era. Concerts had a very important effect on the process of creation of
musical works based on instrumental and vocal genres and could change the structures of these genres, too.
Gradually, western classical music could find a proper position in Iranian society. Western concerts were a
very good chance for Iranians to know their music. Co-executive interactions between Iranian and western
musicians (in different sequences) were noteworthy points of that period.
