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Deckblatt Einer Wissenschaftlichen Bachelorarbeit Deckblatt einer wissenschaftlichen Bachelorarbeit Familienname: Vorname: Matrikelnummer: Studienkennzahl: Thema der Arbeit: Angefertigt in der Lehrveranstaltung: Name der Lehrveranstaltung Vorgelegt am: Datum Beurteilt durch: Leiter_in der Lehrveranstaltung Leitfaden für schriftliche Arbeiten an der KUG (laut Beschluss des Senats vom 18. Juni 2019) Seite 1 von 1 UNIVERSITY OF MUSIC AND PERFORMING ARTS GRAZ Institute 1: Composition, Music Theory, Music History and Conducting WAIT For Trio and Dance Author: Aria Esmaeili Torkanbouri Type of Work: Bachelor Thesis University of Music and Performing arts Graz Institute 1: Composition, Music Theory, Music History and Conducting Study: Composition and Music Theory Supervisor: Univ. Prof. Privatdozent Clemens Gadenstaetter Date: February 2020 1 Table of Contents 1. Introduvtion ................................................................................................................................ 5 2. Idea and Form ............................................................................................................................. 5 2.1. Idea ...................................................................................................................................... 5 2.2. Gholam-Hossein Saedi (under pen name Gohar Morad) ....................................................... 5 2.3. Wait Pantomime .................................................................................................................. 6 2.4. Form .................................................................................................................................... 6 3. Composition Techniques ............................................................................................................. 8 3.1. “A” Part ................................................................................................................................ 8 3.1.1. Gesture .......................................................................................................................... 8 3.1.2. Dynamic, Tempo and Sound Range ................................................................................ 9 3.1.3. Short infromation about Azerbaijan Classical Music ....................................................... 9 3.1.3.1. Uzeyir Hajibayli ...................................................................................................... 9 3.1.3.1. Gara Garayev ....................................................................................................... 10 3.1.4. Harmonic ..................................................................................................................... 11 3.1.5. Instrument Techniques ................................................................................................ 12 3.1.5.1. Flute .................................................................................................................... 12 3.1.5.2. Accordion ............................................................................................................ 13 3.1.5.1. Flute .................................................................................................................... 13 3.2. “B1” Part ............................................................................................................................ 14 3.2.1. Gesture ........................................................................................................................ 14 3.2.2. Harmonic ..................................................................................................................... 14 3.2.3. Dynamic, Tempo, Rhythm and Sound Range ............................................................... 17 3.2.4. Instrument Techniques ................................................................................................ 17 3.2.4.1. Flute .................................................................................................................... 17 3.2.4.2. Cello .................................................................................................................... 17 3.3. “A`” Part ............................................................................................................................. 17 3.3.1. Gesture ................................................................................................................... 17 3.3.2. Harmonic ................................................................................................................. 18 3.4. “B2” Part ............................................................................................................................ 20 3.5. Coda .................................................................................................................................. 21 2 4. Conclusion .................................................................................................................................. 22 5. References ................................................................................................................................... 23 3 Abstract Music and movement have been long closely related. A Movement that generates music, or the music that creates movement, Who’s bond results in an art work which visually connects with the subject. Aesthetics in contemporary art is identified very uniquely in comparison with old times. Specially with expansion of interactions amongst cultures in the last 20 years, this diversity has been exquisite. Sometimes, we encounter art works that are in complete opposition to one another, yet they have their own logical and emotional path through which they interact with their audience. As a result of the current situation, finding a common stance between two different culture or intellectual approaches face difficulties. Understanding the intellectual concerns generated from every regions’ society and culture faces difficulties due to various reasons. This difficulty results in a much more complex climate in the contemporary global art. The connection between music and movement in the past encountered more specified metric, rhythmic, form rules. Having a common order and form is very important in this connection, and inconsistencies of any sorts will result in the loss of common aesthetics and destination. It appears that in order to find this musical and movement order and form, we need to know more about the social, political, and cultural intellects of the different countries and ethnics. Ethno- musicological and anthropological along with theoretical studies can greatly contribute to this objective. “Wait” attempts to find a common audiovisual and movement stance between the cultures of middle Asian and the contemporary musical techniques in the current social and political situation of today’s world. 4 1. Introduction The present text attempts to analyze the aesthetics, composing techniques and form of the musical piece “Wait” regarding the act or dance. “Wait” is inspired by the social, political events of not only the Middle East but also the whole world; that is experiencing an absorbing traumas. A condition caused by a system that has led human beings as the main and influencing pillars in the globe to a state of being between life and death, and wait is one of the main components of this situation. This art work is also generated from the formic and audiovisual structures of culture and beliefs of the middle Asian nations, specially Turkic ethnicities of the region. These structures are to be pointed out in terms of auditory and structural form analysis through the article. “Wait” terms of instrument has been composed for trio flute, accordion, and cello. Methodologically speaking, the triad compound has deep meaning in middle Asia, especially amongst the Turkic (Shamanism) and Sumerian ethnicities. Through the article, there will be more references to the triad compounds and structures. 2. Idea and Form 2.1. Idea: The main idea and form of this work is derived from “Wait” the mute performance (pantomime). “Wait” is one of the 10 pantomime plays written under title of “Dah Lalbazi” (Ten Pantomimes) in 1342 Hijri (1964) by Gholam Hossein Saedi, who was an Azerbaijani-Iranian psychiatrist, play writer and writer. This piece of writing dates back to an important social and political period in Iranian history, that resulted in the collapse of the Iranian Pahlavi dynasty. 2.2.Gholam-Hossein Saedi (under pen name Gohar Morad): Gholam-Hossein Saedi (born on 1314 Hijri (1936) in Tabriz; deseased on 1364 Hijri (1986) in Paris), he began his political activities with the Azerbaijan Democratic Union and when 18 years old, he was prisoned in charge of the cooperation with the union for independence by the Pahlavi regime. He learned to write short stories when he studied medicine in Tabriz through interacting with people such as Samad Behrangi and Gholam-Hossein Farnoud. He graduated in psychiatry in Figure 1: Gholamhossein Saedi Tehran and became specialist psychologist. He eventually abandoned psychology in favor of writing after years of friendship and acquaintance with men like Jalal Ale-Ahmad, Ahmad Shamloo and other writers. Saedi’s specialized knowledge of psychology and human psyche had 5 a great influence over his writing ability from a social and political perspective. Saedi got arrested by Savak1 in 1353 Hijri (1975) and served in prison. He had to leave Iran after the revolution at 1357 Hijri (1979) and he died in 1364 (1986), in Paris. He rests
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