نوع مقاله : مقاله پژوهشی
عنوان مقاله English
نویسندگان English
Objective: Khorasan is one of the largest regions of Iran with a rich and ancient historical background. The narratives of Northern Khorasan tell stories of love, religion, and heroism, each of which may be derived from myths or ancient tales native to this land or the broader area of Northern Khorasan. At the heart of each art form, there lie myths that likely have a clear connection to the life and character of the artist who created them. The aim of the present research is to identify the myth or myths specific to the North Khorasan region by examining some of the musical works of Haj Qorban Soleimani. The central question of this study is: What personal myths can be explored within the works of Haj Qorban’s music? And, based on the analysis of Haj Qorban Soleimani’s personal myths, how have these myths been represented in other literary or musical arts of the Khorasan region?
Method: For this purpose, Gilbert Durand’s myth-analysis theory has been employed. According to this theory, in addition to identifying the myths concealed within an artistic work, one can even access the artist’s transpersonal myth. This research has been conducted using a descriptive-analytical method. Data collection was carried out through library research and the study of written and audio texts. In this regard, three important works of Haj Qorban Soleimani have been analyzed based on the myth-analysis theory, with the goal of discovering both his personal myth and the underlying myth in the cultural geography of North Khorasan.
Results: Haj Qorban Soleimani’s personal myths are religious personas such as Prophet Muhammad (PBUH), Imam Ali (AS), and Prophet Joseph (AS), and these very myths are likewise repeated in the works of other artists from Northern Khorasan. It can also be inferred that Haj Qorban’s personal myth is not dependent on the religious narratives of the Khorasan region, such as Imam Reza (AS) or other Imamzadehs of Greater Khorasan’s culture
Conclusions: Based on the study’s findings and the identification of Haj Qorban’s personal myths, as well as the continuity of these myths from past to present through Durand’s seventh step and the examination of works by other Bakhshis from Northern Khorasan, it can be concluded that the myths inherent in Haj Qorban’s works, as one of the region’s Bakhshis, are also reflected in the works of other Bakhshis of the region. This can be attributed to the oral tradition through which this music has been transmitted from one generation to the next.
کلیدواژهها English
