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Paisaje Sonoro E Identidad Cultural. Los Sonidos De Teherán En El Contexto De La Identidad Musical De Persia

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Paisaje Sonoro E Identidad Cultural. Los Sonidos De Teherán En El Contexto De La Identidad Musical De Persia Paisaje sonoro e identidad cultural. Los sonidos de Teherán en el contexto de la identidad musical de Persia Doctorado en Historia y Ciencias de la Música Departamento de la Música Universidad Autónoma de Madrid Autor Director Shahryar Zarrin Panjeh Jose Luis Carles Arribas Junio de 2017 1 Agradecimientos Me gustaría que estas líneas sirvieran para expresar mi más profundo y sincero agradecimiento a todas aquellas personas que con su ayuda han colaborado en la realización de esta tesis doctoral. En primer lugar, expreso un especial agradecimiento a Doctor Jose Luis Carles Arribas director de esta investigación, por la orientación, el seguimiento, colaboración, valiosos consejos y la supervisión continua de la misma, pero sobre todo por su gran generosidad y lucidez para formarme en el marco de la línea de la investigación. Quisiera hacer extensiva mi enorme gratitud a Doctora Cristina Palmese por su ayuda, generosa colaboración y valiosos consejos. También quiero dar las gracias a todos los profesores de la universidad Autónoma de Madrid destinados a mi formación y los estudios de doctorado, sobre todo un especial reconocimiento merece el interés mostrado por mi trabajo y las sugerencias recibidas por la Doctora Begoña Lolo. Quiero expresar también mi más sincero agradecimiento a todos los amigos que han participado en esta investigación. Sin ellos, no hubiera sido posible cristalizar este proyecto. Finalmente quiero agradecer a la persona más importante de mi vida, a mí esposa Atusa Hosseinzadeh, porque gracias a su amor, paciencia y apoyo, he tenido las fuerzas para sacar adelante esta tesis, y ha sido su constante comprensión, motivación y firmeza la que me ha permitido luchar día a día para alcanzar esta meta. Gracias a Todos. 2 Índice sintético Resumen 8 A.1.INTRODUCCIÓN 1. Delimitación del área de investigación 12 1.1 Antecedentes y estado actual del tema 12 1.2 Justificación 17 2. Desarrollo de la investigación 20 2.1 Conceptos y enfoques con respecto al estudio del sonido urbano 20 2.1.1 Identidad sonora 20 2.1.2 El espacio sonoro: aproximaciones desde la música 24 2.1.3 Objeto sonoro y música concreta 26 2.1.4 El concepto de paisaje sonoro 28 2.2 Objetivos e hipótesis de la investigación 34 2.3 Metodología y plan de trabajo 36 2.4 Organización de la tesis 46 A.2. MARCO TEORICO 1. La función de la música en la cultura persa 49 1.1 El origen de la música persa 49 1.2 Influencia geográfica y clima 50 1.3 Influencia religiosa 52 1.4 Influencia política: la corte 55 1.5 Influencia bélica 55 3 1.5.1 Valores surgidos de la guerra 59 1.5.2 Cambio de gobernantes de Persia como consecuencia de la guerra 60 2. La música de Irán: Origen e Historia 63 2.1 Imperios y dinastías persas 64 2.2 La evolución de la música persa 69 3. La poesía en la música persa 89 3.1 La relación entre poesía y música persa 89 3.2 Nombrar los poetas persas y sus obras 91 4. Música tradicional persa 101 4.1 El origen y la estructura general y la descripción de la música tradicional persa 101 4.2 Estudio de Radif como estructura troncal de la música tradicional 102 4.3 Estudio de las escalas musicales persas 106 5. Música folklore y regional persa 113 5.1 Estudio de música aplicada en distintas regiones de Irán 113 6. Música sufí 120 6.1 Representación de los orígenes de música sufí persa y su desarrollo en Irán 120 7. Organología de música persa 126 7.1 Análisis de los principales instrumentos musicales persas 127 4 7.1.1 Instrumentos de cuerda 127 7.1.2 Instrumentos de viento 135 7.1.3 Instrumentos de percusión 136 8. Deporte ancestral nacional persa 140 8.1 Descripción de deporte nacional y la aplicación de la música en él 140 8.2 Los instrumentos aplicados en el deporte nacional 145 9. Artes escénicas 151 9.1 Teatro persa 151 9.2 El Táziyeh 153 9.3 La Procesión de Ashura 163 9.4 Naghali 167 9.5 Siah Bazi- Ru Howzi 170 A.3. MARCO EXPERIMENTAL 1. Aproximación histórica a los espacios sonoros de Teherán 179 1.1 Espacios sonoros de Teherán 179 1.1.1 Generalidades de Teherán 179 1.1.2 El gran bazar 182 1.1.3 Las mezquitas 191 1.1.4 Espacios escénicos 193 1.1.5 Zurkhaneh 194 1.1.6 Espacios colectivos 195 1.2 Identidad sonora de la ciudad de Teherán 197 1.2.1 Clasificación del paisaje sonoro de Teherán según las cualidades estéticas 197 5 1.2.1.1 Firmas y emblemas sonoros 197 1.2.1.2 El sonido del tiempo 198 1.2.1.3 Plazas, plazuelas, rincones, espacios protegidos 199 1.2.1.4 Espacios de paso, zonas peatonales 200 1.2.1.5 Espacios verdes urbanos 200 1.2.1.6 Calles y avenidas 201 1.2.1.7 Lugares sensibles 201 1.2.1.8 Sonidos y lugares urbanos representativos 202 1.2.1.9 Señales sonoras del pasado 203 2. Análisis de los paisajes sonoros de Teherán 205 2.1 La estructura de trabajo de campo y los análisis relativos 205 2.2 Las tablas y los gráficos y resultados 211 2.3 Análisis comparativo entre el sonido grabado de la ciudad de Teherán de la ceremonia callejera religiosa de Ashura y la estructura y el estilo de la música tradicional persa 218 2.4 Fichas de identidad sonora de la ciudad de Teherán 222 2.4.1 Primera ficha de identidad sonora (mercado de las joyas) 223 2.4.2 Segunada ficha de identidad sonora (llamada a la oración) 229 2.4.3 Tecera ficha de identidad sonora (pregon de vendedores) 236 2.4.4 Cuarta ficha de identidad sonora (vendedor ambulante) 242 2.4.5 Quinta ficha de identdad sonora (músico callejero) 246 2.4.6 Sexta ficha de identidad sonora (carruaje de caballos) 251 2.4.7 Septima ficha de identidad sonora (trafico de Teherán) 257 2.4.8 Otava ficha de identidad sonora (procesión de Ashura) 263 2.4.9 Novena ficha de identidad sonora (actuación de SiahBazi) 269 6 A.4. SINTESIS CONCLUSION Y PERSPECTIVAS 1. Discusión de los resultados 277 2. Conclusiones 287 3. La bibliografía 291 4. Anexos 296 4.1 Las notas de las piezas estructurales de la música tradicional persa 296 4.2 Cuestionarios para la caracterización del paisaje sonoro de Teherán 304 4.3 Archivo de secuencias sonoras de Teherán y la valoración de los entrevistados 358 7 Resumen En varias partes del mundo se está llevando a cabo diversas investigaciones importantes en las aéreas del sonido y el paisaje sonoro urbano para determinar la relación entre el hombre y los sonidos de su entorno. Como señala Murray Schafer 1en su libro de El paisaje sonoro y la afinación del mundo; Los análisis del paisaje sonoro permiten estudiar y comprender las características del cualquier campo acústico, sin embargo, resulta más complicado alcanzar una impresión exacta de un paisaje sonoro que de un paisaje visual. Un paisaje sonoro consiste en acontecimientos escuchados, no en objetos vistos. El espacio sonoro, en tanto que expresión sensible y cualitativa del tiempo, traduce los diferentes modos dinámicos que caracterizan un lugar. En la presente investigación, se propone examinar la relación entre la música y el paisaje sonoro, ya que la música constituye el mejor registro de sonidos del pasado, por lo que nos será útil como guía al estudiar los cambios en los hábitos y percepciones auditivas. Se trata de un área de estudio poco explorado, historiadores e investigadores se han concentrado en demostrar cómo los músicos han alumbrado a su música a partir, ya sea de la imaginación, ya sea de otras formas de música. Pero los músicos también viven en el mundo real, y de manera ostensible los sonidos y los ritmos de las diferentes épocas y culturas han influido en sus trabajos, tanto de manera consciente como inconsciente. 2 Entendiendo el concepto de la identidad como la capacidad de reconocerse como pertenecientes a una cultura, podemos comprender la identidad en el ámbito musical e identidad musical como la habilidad de cada uno en someterse de uno o más géneros musicales definidos por la cultura de la población. El hombre únicamente encuentra en la música aquella verdadera armonía entre su mundo interior y el exterior, igualmente es la música la que cree sus más perfectos modelos del paisaje sonoro ideal en su imaginación. 1 Raymond Murray Schafer es un compositor, escritor, investigador, educador, pedagogo musical y ambientalista canadiense contemporánea. 2 MURRAY SCHAFER, Raymond.: El Paisaje Sonoro y la afinación del mundo. Cazorla, Vanesa G.(Trad.), Barcelona, Intermedio, 2013, P. 153. 8 Según las declaraciones de John Cage 3; La música es sonidos, los sonidos que nos rodean, estemos dentro o fuera de un auditorio. Referente al sonido, diversos trabajos han mostrado cómo las formas urbanas modelan el sonido e inciden en la percepción sonora, afectando ambas dimensiones a la identidad y al carácter del espacio urbano. Se parte para ello de la consideración de que existe una construcción organizada en la experiencia individual del lugar a través de la experiencia sonora que da lugar a una riqueza y variedad de situaciones sonoras y a espacios sonoros particulares los cuales son recogidos y analizados: sonidos emblemáticos de cada ciudad, situaciones sonoras representativas, conexiones entre lugares a nivel de la experiencia sonora individual y colectiva, etc. 4 Esta investigación que toma el caso del paisaje sonoro de Teherán se centra en un análisis del estado de cuestión y parte de una concepción interdisciplinar del sonido y de la música por lo que se plantea una aproximación teórica inicial de carácter transversal en torno al concepto de “Identidad sonora”.
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