Document Type : Original Article
Authors
1
Graduated with a master's degree in archaeology, Department of Archaeology, Faculty of Literature and Humanities, University of Tehran, Tehran, Iran.
2
Associate Professor, Department of Archeology, Faculty of Literature and Human Sciences, University of Tehran.
10.22077/nia.2024.7829.1860
Abstract
More or less all the cultural findings that emerge from the archaeological layers are analyzed in the expression of the special thought of a person. Findings decorated with music signs include concepts such as morphology, organology, how musical instruments are performed and other issues. Therefore, this writing is in line with the ancient hidden playing styles and structures, with an efficient historical sequence and with two approaches of music archeology and music iconography. Today, in the matter of playing, almost all musicians perform a special playing to provide a special sonority. In this way, the current research has prioritized archaeological data and first-hand sources of music in order to obtain the structure of playing in the third to seventh centuries AH. The purpose of the research is to look musically at the cultural data, to identify the differences in the type of playing and to extract the styles of different schools in the Islamic Middle Ages. The main question of the research is that the realism of the performance methods of musical instruments on the cultural materials, in the scope of the illustrator's vision, to what extent is it correct and consistent with reality, which can reveal the performance differences of the musicians. The current research deals with the performance methods of musicians in the mentioned centuries, which have been preserved in the cultural data, by using almost all the data (not only the manuscripts). As such, 41 findings out of 98 archaeological data, which are bowls, plates, bottles, inkwells, clay and plaster molds, statues, tiles, and manuscripts, constitute the material remains of this research. These data have been collected with library and museum methods and have been scrutinized and analyzed with a historical, descriptive-analytical and comparative-applicative perspective. The results show that music and the principles of playing musicians during the Islamic Middle Ages have never stopped despite limitations and have been introduced in the form of other arts. The innovation and musical thinking of the musician in presenting a special sonority has appeared so graceful and worthy that high-ranking and common people, royal artists and street artists under the influence have encouraged and stimulated to record his executive behavior on valuable raw materials
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