نوع مقاله : مقاله پژوهشی
نویسندگان
1 استادیار، گروه موسیقی، دانشکده هنر و معماری، دانشگاه کردستان، سنندج، ایران.
2 استادیار، گروه موسیقی، دانشکده هنر و معماری، دانشگاه کردستان، سنندج، ایران
3 استادیار، گروه موسیقی، دنشکده هنر ومعماری، دانشگاه کردستان، سنندج. ایران.
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The term "chamber (Majlessi) music" has dual meanings across different cultures. In some contexts, it refers to a performance setting where any type of music can be played according to the prevailing culture. In others, chamber music signifies a specific musical genre with distinct parameters. Sanandaj Majlessi music, also known as "Bartonaneh" and "Domaneh," is a genre explored in this study. This article analyzes the structural factors of this genre, including its poetic and musical elements, and explains the use of the terms Bartonaneh and Domaneh. This qualitative research is descriptive-analytical in nature. Data were collected using library methods, audio archives, and fieldwork, including attending performances and conducting interviews. The findings indicate that "Domaneh" is linked to the "Dom" community, a marginalized group in Sanandaj. Their frequent involvement in Majlessi performances led to the term Domaneh. In the case of Bartonaneh; many consider Majlessi to derive from Bartonaneh, the music associated with carpet weavers. Majlessi music's structure is based on how to use poetry and melody. Musically, it features a 7/8 rhythmic pattern and its melody is based on strophic form. The poems, all folk in origin, are utilized in four forms: chain, free, narrative, and improvisation. The chain form is unique to Majlessi, as it does not appear in Kurdish literature or other musical types. Majlessi music employs three performance methods: solo, duet, and collective. These methods play a role in enhancing social interaction and convergence, highlighting the cultural significance of Majlessi music in fostering community ties.
کلیدواژه‌ها [English]
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