كليدواژه :
پيشينه نفوذ موسيقي غربي بر موسيقي ايران , سازهاي اروپايي در ايران , سازهاي اروپايي در تصاوير عصر صفوي , نوازندگان اروپايي در دربار صفوي
چكيده فارسي :
يكي از مسايل مهم فرهنگي در عصر صفوي، تاثير هنر اروپايي در ايران است. از دستاوردهاي رابطه ايران و غرب در موسيقي عصر صفوي، حضور سازهاي اروپايي در دربار ايران است. حضور سازهاي اروپايي در ايران، هم در گزارشات سفرنامه نويسان اروپايي و هم در تصاوير به جا مانده از عصر صفوي مشهود است. با اين حال سازهاي غربي در جامعه صفوي فراگير نشد و تنها در دربار شاهان و توسط نوازندگان اروپايي به اجرا در مي آمد. استقبال شاهان ايراني از سازها و موسيقي اروپايي در خور توجه است، تا آنجا كه شاه سلطان حسين به سفير پرتغال نامه اي مبني بر درخواست ارسال نوازندگان غربي به ايران مي فرستد. ايرانيان و به خصوص شاهان صفوي موسيقي اروپاييان را مي پسنديدند و در مواردي كه گزارش شده، حتي از نواي خارج از كوك سازهاي غربي نيز، لذت مي بردند. با وجود حضور سازها و نوازندگان اروپايي در دربار صفوي، نشانه اي از تاثير موسيقي غربي بر بنيان هاي موسيقي ايراني در دست نيست. اين تاثير در هنر نقاشي با شدت بيشتري نسبت به هنرهاي ديگر به چشم مي خورد كه منجر به پيدايش سبك «فرنگي سازي» شد. اما در زمينهموسيقي، تحول چشمگيري قابل پيگيري نيست.
چكيده لاتين :
Throughout history, cultures and music of different nations have been able to hold sway on each other. Neighboring or not, cultures through economic, business and political transactions, wars, shared religious beliefs, immigration of diverse races, etc., have exerted influence over one another. One of the musical impacts was the circulation and popularity growth of the musical instruments. Also, by virtue of exogenous factors, one can witness the transformation which musical instruments have undergone; these changes occurred in different aspects including the material of which the instruments were made, tuning and techniques of playing. At times, the emergence of such external elements in a culture has culminated in abolition of one musical instrument in that culture. Even the invasion of such alien factors has eventuated in abolition of some ethnic musical instruments as well. The influence of European art in Iran is one of the cultural issues in Safavid dynasty which enjoys a great consequence. One of the achievements of the ties established between Iran and the Occident was the presence of European instrument in Iran’s royal court. This presence has been documented both in travel literature of the European travelers and the illustrations remained inherited from safavid dynasty. Western musical instruments set foot on Iran during this epoch via various ways. Sometimes, they were presented as a gift to the kings of Persia from the European governments. Sometimes, they were introduced to the Iranians by the European visitors who appeared at the royal court of Iran. Moreover, the ambassadors who traveled to Iran used to be accompanied by some players in their entourage. Notwithstanding, European musical instruments used to be present at the court feasts and played by foreign players, they were, in actual fact, common neither among the public nor among the Iranian musicians. What is noteworthy here is the remarkable reception from the Iranians to occidental music and musical instruments. Iranian people, in general, and Safavid kings, in particular, enjoyed the music played by European players, and even, reportedly, the kings took pleasure in listening to slightly out-of-tune sounds of these instruments. The rapturous reception towards European music and instruments from Safavid dynasty is indubitably worth mentioning. This enthusiasm can be vividly notice when Shah Sultan Hossein (c.1668 - c.1726) through a letter to the ambassador of Portugal requested him to send some players to his royal court. That his request was granted or not cannot be confirmed via no reliable sources at hand. Yet, the content of this letter underlines the alacrity and fondness of the king towards the European music and the musical instruments. Although foreign music and instruments were welcomed in Safavid court, there is no sign indicating that the cornerstone of the Iranian music has been influenced by their exotic presence. The impression of European ideas can be detected more obviously in the art of painting rather than other realms of art which has led in the foundation of school called Farangi-sazi style, whereas such parallel evolution cannot be observed in Iranian music.
