Transformations of musical discourse: A comparative analysis of music in the era of Constitutional Revolution and the time of 1979 Revolution

Document Type : Original Article

Authors

1 PHD student of cultural sociology, Faculty of Communication and Social Sciences, Tehran Markaz Branch, Islamic Azad University, Tehran, Iran

2 Assistant professor, Faculty of Communication and Social Sciences, Tehran Markaz Branch, Islamic Azad University, Tehran, Iran

3 Assistant professor, Department of Social Sciences,, Faculty of Psychology, Rudehen Branch, Islamic Azad University, Tehran, Iran

10.22034/scart.2024.139877.1379

Abstract

The present article seeks to compare the discourse of music during the Constitutional period with the 1979 revolution. In the Constitutional period, the ballads of Aref Qazvini and then Mohammad Taqi Bahar (late Qajar and early Pahlavi period) have been selected as examples; Aref is the most famous composer of this period, whose works have remained in the social and musical history of Iran. "Chavush Music Center" has also been chosen as an example for the ballads of the 1979 revolution; This center is the most famous and also the most coherent music group that has created its revolutionary works based on Iranian musical instruments. The social differences of the two periods have also produced different content; Therefore, the poems of the constitutional period have less of an epic mood and are more sad narrating the social situation. Poems during the 1979 revolution, especially the ballads composed by the Chavoush Center, were mostly epic in nature, and they were meant to excite the society. This situation can also be seen in terms of form; The music of the79th revolution period is march-like and exciting and generally "martial" in contrast to the constitutional music which is sad and glorious, and both of these show the social status and social discourse of each period.

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