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A Discourse Analysis of the Evolving Perception of Ney Players and Makers Regarding Innovation from 2000 to 2020 in Iran | ||
| پژوهشهای میانرشتهای هنر | ||
| Volume 2, Issue 2 - Serial Number 3, December 2024, Pages 153-172 PDF (1.3 M) | ||
| Document Type: Original Article | ||
| DOI: 10.22124/ira.2024.29171.1039 | ||
| Authors | ||
| Sadjad Pourghanad* 1; Seyed Pouria Nasiri2 | ||
| 1M.A., Department of Ethnomusicology, Faculty of Music, Iran University of Art, Tehran, Iran | ||
| 2M.A., Department of Music Composition, Faculty of Music, Iran University of Art, Tehran, Iran | ||
| Abstract | ||
| Background: Accepting or rejecting innovations and changes in the arts, particularly in music, has always been a challenge that can shape new directions for the future. To understand the challenges and opportunities ahead, it is essential to analyze the current perspectives of the expert community alongside the historical trends in their attitudes toward innovation. This highlights the importance of research such as that conducted here. Full Range Iranian Ney, also called “Ney-e Shesh Dang" in Farsi, is one of the designs to improve the technique of the Ney, introduced by Hossein Omoomi. Hossein Omoomi addressed the issue raised by Hossein Dehlavi of the lack of regular performance of the songs and Hossein Omoomi addressed the installation of a key inspired by Western wind instruments. Objectives: This study aims to classify Iranian musical discourses into distinct generations by elucidating the perspectives of Ney producers and musicians (performers) regarding the innovation of this instrument within historical contexts. Furthermore, it aims to identify influential discourses and assess the prospects of embracing changes in the design of the Ney instrument. Among the inquiries in this study are: 1) What are the commonalities among Iranian music's Ney players, and from what discourses do they originate? 2) Which discourses within the community of Ney players can be categorized chronologically by generation? 3) What are the trends that have gained popularity over time and Which one has the dominant role? 4) What logic in the modern era is predicated on the tendency to win? Method: This research employs a quantitative research and analytical method. Data collection involves both library research and empirical studies. In the quantitative section, the researchers surveyed Ney producers who had a reputation in the Ney-playing community, as well as musicians who had recorded and performed a great deal of music, and therefore had a national reputation for presenting works with Ney. After completing the survey, 24 professional Ney performers and makers were introduced to the full-range Ney. To gauge the level of acceptance of the instrument, the researchers used three items - agree (yes), abstain, and oppose (no). Literature review: Based on past research, three dominant discourses, including "International classical music discourse,” “Iranian classical music discourse,” and "Iranian traditional music discourse,” and one sub-discourse, known as “Sub-discourse of modernity based on Iranian musical tradition,” have been identified within the cultural music community in Iran, which categorizes Ney players and instrument makers within these discourses. The three opinions of instrument players about inventions and modifications to their instruments have not yet been the subject of any research. As evident from searches in scientific article databases, research on a similar topic to this study, namely the opinions of musicians regarding innovation and changes in a musical instrument, has not been documented so far. Results: This research indicates that first-generation, second-generation, and third-generation Ney players exhibit a discernible behavioral shift. The first-generation representative, Hasan Kasaei, is not particularly interested in changing the Ney, and second-generation musicians are generally opposed to altering the instrument's structure. However, third-generation musicians are very interested in changing the Ney and are particularly drawn to the Hossein Omoomi design. In addition to this, some members of the group feel that these changes are insufficient, while others propose more changes, like "Ney with more keys" and "metal Ney with full keys design," among other ideas. Conclusion: In conclusion, most first and second-generation musicians are more in line with the "sub-discourse of modernity based on the tradition of Iranian music" than with the discourse of "traditional Iranian music" when it comes to "presenting their musical works" by examining their perspectives and performances at the same time. However, their views are based on the discussion of "traditional Iranian music" when it comes to the substitution of instruments. Hossein Omoomi is the only one among them who genuinely seeks change. The evolution has been on Iranian instruments (Ney, Tombak, and Daf) and can be considered representative of the Vaziri school or the discourse of "Iranian classical music." Hasan Kasaei, a representative of the first generation, along with Abdul Naqi Afsharnia and Jamshid Andalibi from the second generation, are the only other individuals whose views align with "the small discourse of modernity based on the tradition of Iranian music." The primary factor influencing the opinions of successive generations of Iranian Ney instrument players is the hegemony of discourses and the musicians' adherence to the dominant discourse of each decade. In the decades that followed, the "Iranian classical music" discourse (Vaziri school) replaced the dominant discourse of the second generation, "traditional Iranian music," which was hostile to innovation and change in any area of Iranian music, including instrumentation. The musicians of Iran's third generation have carried on with this strategy up to this point. It is impossible to overlook the role that academic institutions, conservatories, cultural and artistic hubs, orchestras, and national policy-making organizations like the Ministry of Culture and Arts and the Iranian National Radio and Television play in the political system when it comes to developing, strengthening, learning, or changing discourses. Ultimately, what is discernible at this point is the resolve of the third generation of Ney instrument musicians and instructors regarding the necessity of enhancing this instrument's structure. The third generation, in contrast to the preceding generations, is concerned with the advancement of music rather than the unquestionable preservation of Iranian music's generalities and specifics. This generation eliminates current barriers and flaws while upholding Iranian music's positive aspects. Future research can benefit from the diverse perspectives of Ney musicians and producers that were captured in this study. | ||
| Keywords | ||
| Discourse Analysis in Iranian Music; Innovation in Ney Instrument; Iranian Music Discourses; Hossein Omoomi | ||
| References | ||
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