نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشیار گروه علوم ارتباطات دانشکده علوم اجتماعی دانشگاه تهران
2 دانشجوی دکترای علوم ارتباطات دانشکده علوم اجتماعی دانشگاه تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
In this article, we studied the fluidity in the division of the Iranian classical music genre related to the meaning of creativity as a "cultural process". Through a semi-structured interview with 5 musicians in the Iranian classical music genre, we analyzed how the relationship between creating creativity in the "production culture" of the Iranian music industry and the division of the Iranian classical genre. According to the results, the main themes are "celebrity-oriented creativity", which creates quasi-Dastgahi, Composite music and custom-organizational music, "pure creativity", which creates the artistic genre, and "cultural creativity", which is the original Dastgahi genre, and Creates social art. In each context, the moral and ritual codes and the position of the audience and the profit are different. Ethical and ritual codes in the context of cultural are related to moral preconditions such as modesty and rituals. The relationship with the vertical audience and in order to promote the audience's listening taste and financial gain in it is futuristic. In pure creativity, moral and ritual codes are not prominent, the audience is absent and the real creator himself is present in this genre. The reputation-oriented genre begins with the audience's perception, there is a sense of artist alienation in the genre, it is followed by rapid financial consequentialism, and the moral and ritual codes are based on technical ostentation.
کلیدواژهها [English]
16. Toynbee, Jason (2011),” Music, Culture, and Creativity”, Wiley-Blackwell.”, The Cultural Study of Music: A Critical Introduction, edited by Martin Clayton, et al., Routledge.
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