چکیده:
منطقِ دستگاه همواره دربردارندهٔ یک انتظامِ مُدال از یک سطح زیرایی بم به سطحی زیرتر بوده است. نکتهٔ حائز اهمّیت در این انتظامها این است که برخی از موجودیّتهای مُدال در دستگاههای مختلف با اسامی یکسان و گاهی هم متفاوت ظاهر میشوند. در نتیجه ممکن است یک موجودیّت یکتا نسبت به سطحِ زیرایی مبنای دستگاههای مربوطه در سطوحِ زیرایی متفاوتی ظاهر شود. به نظر میرسد یک موجودیّت مُدال در انتظامِ دستگاههای متفاوت، بهنوعی انطباقات دچار میشود. پژوهش حاضر با استفاده از روشهای توصیفی، تحلیلی و تطبیقی و دو نمونهٔ مطالعاتی «مخالف سهگاه - بیاتِ اصفهان» و «نیشابورکِ ماهور» به مطالعهٔ انتظام مُدالِ دستگاه و تأثیر آن بر نمودِ موجودیّتهای مُدال و امکان گسترش کارگان در این نظام پرداخته است. این پژوهش نشان میدهد انتظامِ مُدال دستگاه و سطوح زیرایی نسبیِ موجود در آن در سه وجه تأثیرگذار و دارای اهمّیت است:۱. جایگاه یک مُد نسبت به «درآمد»؛۲. جایگاه یک مُد نسبت به مُدهای پیشین و پسین؛۳. کلّیت یکپارچهٔ دستگاه بهعنوان یک نوبت مرتّب.همچنین تفاوتهای ریزساختاری مخالف و بیاتِ اصفهان قدیم ناشی از همین انطباقات درون یا خارج از منطقِ دستگاه است. بهطورکلی نتایج پژوهش حاضر حاکی از وجودِ ظرایفی است که تغییر در هر یک از آنها منتج به گسترش کارگان در سطوح مختلف خواهد شد.
The logic of the Dastgah from its emersion to the present day has always included a modal arrangement from a lower pitch to a higher level. This arrangement always returns to the "Daramad" mode at the lowest pitch of the system by the concept of "Forud" to objectify the cyclic pattern of the Dastgah. The critical point in these modal arrangements is that some modal entities appear in different Dastgah-ha (s. Dastgah) with the same or sometimes different names. As a result, a single entity may occur at different pitch levels relative to the fundamental pitch of the corresponding Dastgah in Daramad. On the other hand, the acoustic nature of the anterior and posterior modes of a mode and the tuning of the basis of the Dastgah affects the acoustic appearance of that mode. In this regard, a modal entity in various presences within the arrangement of different Dastgah-ha, in its outer layers, undergoes a kind of melodic adaptation. In addition, according to the current concept of "Avaz" in Iranian classical music, the independent performance of a mode outside the system and without the presence of previous and subsequent entities, as well as the concept of "Forud" will have a different appearance. The present study uses descriptive, analytical, and comparative methods and two cases of study, "Mokhalef-e Segah – Bayat-e Isfahan-e Qadim" and "Nayshaburk-e Mahur," to study the effect of the Dastgah modal arrangement on the acoustic representation of a modal entity and its mental perception in this system. Each of these cases independently and about each other in four authoritative narrations of Iranian classical music Radif, including the narrations of "Mirza Abdullah,” "Mirza Hosseinqoli,” "Abdullah Davami" and "Mahmud Karimi,” from micro to macro level, based on the concept of "Seyir" has been examined. This study shows that the Dastgah modal regulation This study shows that the model regulation of the device and the relative pitches inside it are effective and important in three ways:1. Depending on the position of a mode in the arrangement of the Dastgah relative to the Daramad, the concept of Forud will require different adjustments.2. Each modal entity in the logic of the Dastgah, apart from the relation it finds with Daramad, also sees a connection with its previous and subsequent modes and will be influenced by them.3. The displacement of each modal entity inside the logic of the Dastgah will give rise to distinct feelings and perceptions of the Dastgah as a Nobat-e Morattab.Considering the similarities in melody and intervals of the two "Mokhalef-e Segah – Bayat-e Isfahan-e Qadim" and "Nayshaburk-e Mahur," these two seem to be the same entity that has two different acoustic manifestations in two different uses, or the listener has two distinct perceptions. Also, the microstructural differences between the Mokhalef-e Segah and the Bayat-e Isfahan-e Qadim are due to these adaptations inside or outside the system’s logic. In general, the present study results indicate the existence of subtleties that change in each of them will lead to the expansion of repertoire at different levels.