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‫ﻳـﺎﺩﺩﺍﺷﺖ‬

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‫ﺗﻨﻈﻴﻢ ﻗﻄﻌﺎﺕ ﺍﺳﺘﺎﺩ ﺻﺒﺎ ﺑﺮﺍﯼ ﺑﺮﺑﺖ‬

‫ﻣﻮﺳﻴﻘﯽ ﻣﺎ ﻧﻤﯽﺗﻮﺍﻧﺪ ﺟﻬﺎﻧﯽ ﺷﻮﺩ‬ ‫ﺳﻴﺎﻣﮏﺁﻗﺎﻳﯽ‬

‫ﻣﺎ ﻓﺎﺭﺳــﯽﺯﺑﺎﻥ ﻫﺴــﺘﻴﻢ‪ .‬ﺗﻨﻬﺎ ﺳــﻪ ﮐﺸــﻮﺭ ﺟﻬﺎﻥ‪،‬‬ ‫ﻓﺎﺭﺳــﯽﺯﺑﺎﻥ ﻫﺴﺘﻨﺪ؛ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ‪ ،‬ﺗﺎﺟﻴﮑﺴــﺘﺎﻥ ﻭ ﺍﻳﺮﺍﻥ‪.‬‬ ‫ﻓﺮﻫﻨــﮓ ﺍﻳﻦ ﺯﺑﺎﻥ ﺩﺭ ﻗﻴــﺎﺱ ﺑﺎ ﻓﺮﻫﻨﮓ ﺟﻬﺎﻧﯽ‪ ،‬ﻣﺤﻠﯽ‬ ‫ﻣﺤﺴﻮﺏ ﻣﯽﺷــﻮﺩ‪ .‬ﻳﻌﻨﯽ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﺷﻤﺎ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﮐﻤﺘﺮﯼ ﺩﺍﺭﻳﺪ‪ .‬ﻭﻟﯽ ﻭﻗﺘﯽ ﺯﺑﺎﻥ ﺷﻤﺎ ﺍﻧﮕﻠﻴﺴﯽ ﺑﺎﺷﺪ ﻭ ﮔﻮﻧﻪ‬ ‫ﮐﺎﺭﺗﺎﻥ ﻣﺜ ً‬ ‫ﻼ ﺳﻤﻔﻮﻧﯽ‪ ،‬ﻳﮏ ﻣﺮﺗﺒﻪ ﻣﺨﺎﻃﺐ ﺷﻤﺎ ﻣﻴﻠﻴﻮﻧﯽ‬ ‫ﻳﺎ ﺣﺘﯽ ﻣﻴﻠﻴﺎﺭﺩﯼ ﻣﯽﺷــﻮﺩ‪ .‬ﻣﺎﻳﮑﻞ ﺟﮑﺴــﻮﻥ ﺑﻴﺶ ﺍﺯ‬ ‫‪ ۷۵۰‬ﻣﻴﻠﻴﻮﻥ ﺳــﯽﺩﯼ ﺩﺭ ﺟﻬﺎﻥ ﻓﺮﻭﺧﺘﻪ ﺍﺳﺖ‪ .‬ﻣﯽﺩﺍﻧﻴﺪ‬ ‫ﺍﻳــﻦ ﻋﺪﺩ ﻳﻌﻨﯽ ﭼﯽ؟! ﺍﻳﻦ ﺭﺍ ﻫﻢ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ ﮐﻪ ﻫﺮ‬ ‫ﺳﯽﺩﯼ ﺭﺍ ﻫﻔﺖ‪ ،‬ﻫﺸــﺖ ﻧﻔﺮ ﮔﻮﺵ ﻣﯽﮐﻨﻨﺪ‪ .‬ﻳﻌﻨﯽ ﭼﻪ‬ ‫ﺗﻌﺪﺍﺩ ﻣﺨﺎﻃﺐ؟ ﺍﻳﻦ ﻳﻌﻨﯽ ﻣﻮﺳﻴﻘﯽ ﺟﻬﺎﻧﯽ‪ .‬ﻋﻠﻴﺰﺍﺩﻩ ﺩﺭ‬ ‫ﺗﺎﻻﺭ ﻭﺣﺪﺕ ﮐﻨﺴــﺮﺕ ﺑﺮﺍﯼ ‪ ۷۰۰‬ﻧﻔﺮ ﻣﯽﮔﺬﺍﺭﺩ‪ .‬ﺷــﻤﺎ‬ ‫ﭘﺮﻭﻳــﺰ ﻣﺸــﮑﺎﺗﻴﺎﻥ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﮑﯽ ﺍﺯ ﺑﺮﺟﺴــﺘﻪﺗﺮﻳﻦ‬ ‫ﺁﻫﻨﮕﺴــﺎﺯﺍﻥ ﺍﻳﺮﺍﻧﯽ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‪ .‬ﭼﻨﺪ ﻧﻔﺮ ﻣﻮﺳﻴﻘﯽ‬ ‫ﺍﻭ ﺭﺍ ﺷــﻨﻴﺪﻧﺪ؟ ﺁﻳﺎ ﺍﻳﻦ ﺁﺩﻡﻫﺎ ﺭﺍ ﻣﺎ ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺩﻳﺪﻳﻢ‪.‬‬ ‫ﺁﻳﺎ ﻣﺎ ﺻﺪﺍﯼ ﻣﺸــﮑﺎﺗﻴﺎﻥ ﺭﺍ ﺍﺯ ﺭﺍﺩﻳﻮ ﺷﻨﻴﺪﻳﻢ ﮐﻪ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺍﺛﺮﺵ ﺣﺮﻑ ﺑﺰﻧﺪ؟ﺷﻤﺎ ﻭﻗﺘﯽ ﻣﯽﺭﻭﻳﺪ ﺑﻪ ﮐﻨﺴﺮﻭﺍﺗﻮﺍﺭ ﻭ‬ ‫ﻭﻳﻮﻟﻦ ﻣﯽﻧﻮﺍﺯﻳﺪ‪ ،‬ﺑﻪ ﻫﻤﻴﻦ ﺳﺎﺩﮔﯽ ﺑﺎ ﺩﻭ ﻣﻴﻠﻴﺎﺭﺩ ﻧﻔﺮ ﺩﺭ‬ ‫ﺟﻬﺎﻥ ﻭﺟﻪ ﻣﺸﺘﺮﮎ ﭘﻴﺪﺍ ﻣﯽﮐﻨﻴﺪ‪ .‬ﺩﻭ ﻣﻴﻠﻴﺎﺭﺩ ﻭﻳﻮﻟﻦ ﺩﺭ ﺩﻧﻴﺎ‬ ‫ﻫﺴﺖ‪ .‬ﺣﺎﻻ ﻳﮑﯽ ﻣﯽﺧﻮﺍﺳﺘﻪ ﻧﻮﺍﺯﻧﺪﻩ ﺷﻮﺩ ﻭ ﻧﺸﺪﻩ‪ ،‬ﻳﮑﯽ‬ ‫ﻭﻳﻮﻟﻦ ﺧﺮﻳﺪﻩ ﺗﺎ ﻓﺮﺯﻧﺪﺵ ﺁﻣﻮﺯﺵ ﺑﺒﻴﻨﺪ ﻭ… ﻭ ﺧﻴﻠﯽﻫﺎ‬ ‫ﻫﻢ ﺩﺭ ﺣﺎﻝ ﺁﻣﻮﺯﺵ ﺩﻳﺪﻥ ﻭ ﮐﺎﺭ ﮐﺮﺩﻥ ﻫﺴــﺘﻨﺪ‪.‬ﺩﺭ ﻣﻮﺭﺩ‬ ‫ﮔﻴﺘﺎﺭ ﻭ ﮔﻴﺘﺎﺭ ﺍﻟﮑﺘﺮﻳﮏ ﺍﻳﻦ ﻋﺪﺩ ﺧﻴﻠﯽ ﺑﻴﺸﺘﺮ ﺍﺳﺖ‪ .‬ﺍﺯ ﺁﻥ‬ ‫ﻃﺮﻑ ﺟﻤﻌﻴﺘﯽ ﻭ ﻣﻠﻠﯽ ﺭﺍ ﮐﻪ ﺑﺎ ﺍﻳﻦ ﻣﻮﺳﻴﻘﯽ ﺩﺭﮔﻴﺮ ﻫﺴﺘﻨﺪ‬ ‫ﻫﻢ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﺩ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﭼﺎﻳﮑﻮﻓﺴﮑﯽ ﺍﺯ ﺭﻭﺳﻴﻪ‪ ،‬ﺩﺑﻮﺳﯽ‬ ‫ﺍﺯ ﻓﺮﺍﻧﺴﻪ‪ ،‬ﻣﻮﺗﺴﺎﺭﺕ‪ ،‬ﺑﺎﺥ‪ ،‬ﺑﺘﻬﻮﻭﻥ ﻭ… ﺍﺯ ﺁﻟﻤﺎﻥ‪ ،‬ﺷﻮﭘﻦ‬ ‫ﺍﺯ ﻟﻬﺴﺘﺎﻥ‪ ،‬ﺟﺎﻥ ﮐﻴﺞ ﺍﺯ ﺍﻣﺮﻳﮑﺎ ﻭ… ﺍﺯ ﺩﻭﺭﻩﻫﺎﯼ ﻣﺨﺘﻠﻒ‬ ‫ﻭ ﮐﺸﻮﺭﻫﺎﯼ ﻣﺨﺘﻠﻒ‪ ،‬ﺍﻣﺎ ﺍﻧﮕﺎﺭ ﻫﻤﻪ ﺩﺭ ﻳﮏ ﻃﺒﻘﻪ ﺟﺎﯼ‬ ‫ﻣﯽﮔﻴﺮﻧﺪ‪ .‬ﻫﻤﻪ ﺩﺍﺭﻧﺪ ﻳﮏ ﻓﺮﻡ ﺭﺍ ﮐﺎﺭ ﻣﯽﮐﻨﻨﺪ‪.‬ﻣﻮﺳــﻴﻘﯽ‬ ‫ﻣﺎ ﺑﺮﺍﯼ ﺍﻋﺪﺍﺩ ﻭ ﺍﺭﻗﺎﻡ ﺑﺰﺭﮒ ﻣﺨﺎﻃﺐ ﺗﻮﻟﻴﺪ ﻧﻤﯽﺷــﻮﺩ‪.‬‬ ‫ﻣﻮﺳﻴﻘﯽ ﻣﺎ ﻧﻤﯽﺗﻮﺍﻧﺪ ﺟﻬﺎﻧﯽ ﺷﻮﺩ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﮐﻪ ﻧﻤﯽﺷﻮﺩ‬ ‫ﺯﺑﺎﻥ ﻓﺎﺭﺳــﯽ ﺭﺍ ﺟﻬﺎﻧﯽ ﮐﻨﻴﻢ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﻣﺮﺩﻡ ﺭﺍ ﻣﺠﺎﺏ ﮐﻨﻴﺪ‬ ‫ﻓﺎﺭﺳﯽ ﻳﺎﺩ ﺑﮕﻴﺮﻧﺪ ﺗﺎ ﭘﻴﭽﻴﺪﮔﯽﻫﺎ ﻭ ﺻﻨﺎﻳﻊ ﺍﺩﺑﯽ ﺣﺎﻓﻆ‬ ‫ﺭﺍ ﺑﻔﻬﻤﻨﺪ ﺗﺎ ﺑﻌﺪ ﺑﺘﻮﺍﻧﻨﺪ ﺷﺎﻣﻠﻮ ﺭﺍ ﻫﻢ ﺩﺭﮎ ﮐﻨﻨﺪ! ﻣﻮﺳﻴﻘﯽ‬ ‫ﺭﺍﮎ ﻣﮕﺮ ﭼﻨﺪ ﺳﺎﻟﻪ ﺍﺳﺖ؟ ﭼﺮﺍ ﺑﻪ ﺁﻥ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﺗﻮﺟﻪ‬ ‫ﺷﺪ؟ ﭼﺮﺍ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﻣﻮﺭﺩ ﺍﻗﺒﺎﻝ ﻋﺎﻣﻪ ﻣﺮﺩﻡ ﻗﺮﺍﺭ ﮔﺮﻓﺖ؟‬ ‫ﭼﻮﻥ ﺩﺭﺩ ﻣﺸــﺘﺮﮎ ﻣﻴﻠﻴﺎﺭﺩﻫﺎ ﺁﺩﻡ ﺍﻓﺴﺮﺩﻩ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ‬ ‫ﺟﻬﺎﻧﯽ ﺭﺍ ﻓﺮﻳﺎﺩ ﺯﺩ‪ .‬ﺑﻌﺪ ﺁﻧﻘــﺪﺭﯼ ﭘﻴﺶ ﺭﻓﺖ ﮐﻪ ﺍﻣﺮﻭﺯ‬ ‫ﺳﻠﻴﻘﻪ ﺷﻨﻴﺪﺍﺭﯼ ﻣﻦ ﺳﻨﺘﻮﺭﻧﻮﺍﺯ ﺭﺍ ‪ ۱۰‬ﭘﻠﻪ ﺑﺎﻻﺗﺮ ﻣﯽﺑﺮﺩ‪.‬‬ ‫ﻓﺎﺭﻍ ﺍﺯ ﺑﺤﺚ ﺯﺑﺎﻥ‪ ،‬ﻣﻮﺳــﻴﻘﯽ ﻟﺬﺕﺑﺨﺸــﯽ ﺍﺳﺖ‪ .‬ﺍﻳﻦ‬ ‫ﻣﻮﻗﻌﻴﺖ ﺭﺍ ﻣﻮﺳﻴﻘﯽ ﻣﺎ ﻧﺪﺍﺭﺩ‪ .‬ﻣﻮﺳﻴﻘﯽ ﺳﻨﺘﯽ ﻣﺎﺩﺍﮔﺎﺳﮑﺎﺭ‬ ‫ﻫﻢ ﻧﺪﺍﺭﺩ‪ ،‬ﻣﻮﺳﻴﻘﯽ ﺳﻨﺘﯽ ﭼﻴﻦ ﻫﻢ ﻧﺪﺍﺭﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﻣﻮﺍﺭﺩﯼ‬ ‫ﮐﻪ ﮔﻔﺘﻢ ﺍﺿﺎﻓﻪ ﮐﻨﻴﺪ ﻣﺸــﮑﻼﺕ ﺩﻳﮕﺮ ﺭﺍ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ‬ ‫ﺍﺳﺖ ﮐﻪ ﻣﻌﺘﻘﺪﻡ ﺍﺗﻔﺎﻗﺎﺗﯽ ﮐﻪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺩﺭ ﻣﻮﺳﻴﻘﯽ‬ ‫ﺍﻳﺮﺍﻧﯽ ﺭﺥ ﻣﯽﺩﻫﺪ ﺑﺴﻴﺎﺭ ﺟﺎﯼ ﺧﻮﺷﺤﺎﻟﯽ ﺩﺍﺭﺩ‪.‬‬

‫ﺩﺭ ﻳـﭽﻪ‬ ‫ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﻳﮑﺼﺪﻣﻴﻦ ﺳﺎﻝ ﺗﻮﻟﺪ ﺟﻮﺍﺩ ﻣﻌﺮﻭﻓﯽ‬

‫ﺭﻭﺍﻳﺘﯽ ﺷﺮﻗﯽ ﺍﺯ ﺧﻮﺍﺏﻫﺎﯼ ﻃﻼﻳﯽ‬ ‫ﻧﺸﺴــﺖ ﺧﺒﺮﯼ ﮐﻨﺴﺮﺕ ﮔﺮﻭﻩ ﻣﻮﺳــﻴﻘﯽ ﺷﺮﻗﯽ ﺩﺭ‬ ‫ﺩﻓﺘﺮ ﺳﺎﻣﺎﻥ ﺍﺣﺘﺸﺎﻣﯽﺑﺮﮔﺰﺍﺭ ﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻧﺸﺴﺖ ﺳﺎﻣﺎﻥ‬ ‫ﺍﺣﺘﺸــﺎﻣﯽﮐﻪ ﻣﻮﺳﺲ ﮔﺮﻭﻩ ﺷــﺮﻗﯽ ﺑﻮﺩﻩ ﻭ ﺩﺭ ﺍﻳﻦ ﮔﺮﻭﻩ‬ ‫ﭘﻴﺎﻧﻮ ﻣﯽﻧﻮﺍﺯﺩ ﺑﻪ ﺗﺸﺮﻳﺢ ﺑﺮﻧﺎﻣﻪﻫﺎ ﻭ ﻗﻄﻌﺎﺕ ﺍﻳﻦ ﮐﻨﺴﺮﺕ‬ ‫ﭘﺮﺩﺍﺧﺖ‪.‬ﺍﻳﻦ ﻧﻮﺍﺯﻧﺪﻩ ﭘﻴﺎﻧﻮ ﺩﺭﺑﺎﺭﻩ ﺳــﺎﺑﻘﻪ ﮔﺮﻭﻩ ﻣﻮﺳﻴﻘﯽ‬ ‫ﺷــﺮﻗﯽ ﻭ ﻧﺎﻡ ﺍﻳﻦ ﮔــﺮﻭﻩ ﮔﻔﺖ‪ :‬ﺁﻧﭽﻪ ﻣــﺎ ﺩﺭ ﻗﺎﻟﺐ ﮔﺮﻭﻩ‬ ‫ﻣﻮﺳــﻴﻘﯽ ﺷﺮﻗﯽ ﺍﺟﺮﺍ ﻣﯽﮐﻨﻴﻢ ﺷــﺎﻣﻞ ﻣﻮﺳﻴﻘﯽ ﻧﻮﺍﺣﯽ‬ ‫ﻣﺨﺘﻠﻒ ﺍﻳﺮﺍﻥ‪ ،‬ﻣﻮﺳﻴﻘﯽ ﻣﻠﯽ ﺍﻳﺮﺍﻥ ﻭ ﻣﻮﺳﻴﻘﯽ ﺳﻨﺘﯽ ﺍﻳﺮﺍﻥ‬ ‫ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺭﭘﺮﺗﻮﺍﺭﻫﺎﻳﯽ ﮐﻪ ﻣﺎ ﻣﯽﻧﻮﺍﺯﻳﻢ ﻗﻄﻌﺎﺗﯽ‬ ‫ﺍﺯ ﻣﻮﺳــﻴﻘﯽ ﮐﻼﺳﻴﮏ ﻏﺮﺏ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ‬ ‫ﮐﻪ ﺑﻴﺸﺘﺮﻳﻦ ﺑﺨﺶ ﻗﻄﻌﺎﺕ ﺍﺟﺮﺍﻳﯽ ﺩﺭ ﮔﺮﻭﻩ ﻣﺎ ﺭﺍ ﻣﻮﺳﻴﻘﯽ‬ ‫ﺷﺮﻗﯽ ﺗﺸــﮑﻴﻞ ﻣﯽﺩﻫﺪ ﻧﺎﻡ ﮔﺮﻭﻩ ﺭﺍ ﺷﺮﻗﯽ ﻧﻬﺎﺩﻳﻢ‪ .‬ﻭﯼ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺭﭘﺮﺗﻮﺍﺭ ﮐﻨﺴﺮﺗﯽ ﮐﻪ ﺩﺭ ﭘﻴﺶ ﺩﺍﺭﻧﺪ ‪،‬ﺍﻇﻬﺎﺭ ﮐﺮﺩ‪ :‬ﺑﻪ‬ ‫ﻣﻨﺎﺳﺒﺖ ﺻﺪﻣﻴﻦ ﺳﺎﻟﮕﺮﺩ ﺗﻮﻟﺪ ﺟﻮﺍﺩ ﻣﻌﺮﻭﻓﯽ ﻧﺨﺴﺘﻴﻦ‬ ‫ﻗﻄﻌﻪ ﺍﻳﻦ ﮐﻨﺴــﺮﺕ ﺭﺍ ﺑﻪ ﻗﻄﻌﻪﺍﯼ ﺍﺯ ﺳــﺎﺧﺘﻪﻫﺎﯼ ﻭﯼ‬ ‫ﻳﻌﻨﯽ ﻣﻠﻮﺩﯼ ﺧﻮﺍﺏﻫﺎﯼ ﻃﻼﻳﯽ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩ ﺍﻳﻢ ﮐﻪ‬ ‫ﺑﺎ ﺗﻨﻈﻴﻤﯽﺟﺪﻳﺪ ﺍﺯ ﺧﻮﺩﻡ ﺍﺟﺮﺍ ﻣﯽﺷﻮﺩ‪.‬ﺍﻳﻦ ﺁﻫﻨﮕﺴﺎﺯ ﻭ‬ ‫ﻧﻮﺍﺯﻧﺪﻩ ﭘﻴﺎﻧﻮ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ :‬ﺩﺭ ﺍﻳﻦ ﮐﻨﺴــﺮﺕ ﺷﺎﻫﺪ ﺭﻭﻳﺪﺍﺩﯼ‬ ‫ﺗﺌﺎﺗﺮﯼ ﻫﺴﺘﻴﻢ‪ .‬ﺍﻋﻀﺎﯼ ﮔﺮﻭﻩ ﺷﺮﻗﯽ ﺩﺭ ﺍﻳﻦ ﮐﻨﺴﺮﺕ ﻫﺸﺖ‬ ‫ﻧﻔﺮ ﻫﺴﺘﻨﺪ ﮐﻪ ﺍﻳﻦ ﻧﻮﺍﺯﻧﺪﻩﻫﺎ ﻫﻴﭻ ﮔﺎﻩ ﺑﻪ ﻃﻮﺭ ﻫﻤﺰﻣﺎﻥ ﺩﺭ‬ ‫ﮐﻨــﺎﺭ ﻫﻢ ﻗﺮﺍﺭ ﻧﻤﯽﮔﻴﺮﻧﺪ‪ .‬ﻫﺮ ﻧﻮﺍﺯﻧﺪﻩ ﺩﺭ ﻗﻄﻌﺎﺗﯽ ﮐﻪ ﺑﺎﻳﺪ‬ ‫ﺑﻨﻮﺍﺯﺩ ﺭﻭﯼ ﺻﺤﻨﻪ ﻣﯽﺁﻳﺪ ﻭ ﭘﺲ ﺍﺯ ﺍﺗﻤﺎﻡ ﺍﺟﺮﺍﻳﺶ ﺻﺤﻨﻪ‬ ‫ﺭﺍ ﺗﺮﮎ ﻧﻤﯽﮐﻨﺪ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻫﻴﭻ ﻧﻮﺍﺯﻧﺪﻩ ﺑﻴﮑﺎﺭﯼ ﺭﻭﯼ‬ ‫ﺻﺤﻨﻪ ﺑﺎﻗﯽ ﻧﻤﯽﻣﺎﻧﺪ‪ .‬ﻭﯼ ﮔﻔﺖ‪ :‬ﺩﺭ ﺍﺑﺘﺪﺍﯼ ﺍﻳﻦ ﮐﻨﺴﺮﺕ‬ ‫ﻧﻴﺰ ﮐﻠﻴﭙﯽ ﭘﺨﺶ ﻣﯽﺷــﻮﺩ ﮐﻪ ﺿﻤﻦ ﻣﻌﺮﻓﯽ ﻧﻮﺍﺯﻧﺪﻩﻫﺎﯼ‬ ‫ﮔﺮﻭﻩ ﺷﺮﻗﯽ ﺗﺎﺭﻳﺨﭽﻪﺍﯼ ﺍﺯ ﺍﻳﻦ ﮔﺮﻭﻩ ﺭﺍ ﺑﺮﺍﯼ ﺣﺎﺿﺮﺍﻥ ﺩﺭ‬ ‫ﺳﺎﻟﻦ ﻣﻌﺮﻓﯽ ﻣﯽﮐﻨﺪ‪ .‬ﺩﺭ ﺑﺨﺶ ﺩﻳﮕﺮﯼ ﺍﺯ ﺍﻳﻦ ﮐﻨﺴﺮﺕ ﺑﺎ‬ ‫ﺣﻀﻮﺭ ﮐﻮﺭﺵ ﺑﺎﺑﺎﻳﯽ ﻧﻮﺍﺯﻧﺪﻩ ﮐﻤﺎﻧﭽﻪ ﺑﻪ ﺍﺟﺮﺍﯼ ﻗﻄﻌﺎﺗﯽ‬ ‫ﺍﺯ ﻣﻮﺳﻴﻘﯽ ﮐﺮﺩﯼ ﻭ ﻟﺮﯼ ﻣﯽﭘﺮﺩﺍﺯﻳﻢ‪.‬ﺍﺣﺘﺸﺎﻣﯽﮔﻔﺖ‪ :‬ﺩﺭ‬ ‫ﺍﻳﻦ ﺍﺟﺮﺍ ﺑﺮﺍﯼ ﻧﺨﺴــﺘﻴﻦ ﺑﺎﺭ ﺳــﺎﺯ ﻣﻠﻮﺩﻳﮑﺎ ﺭﺍ ﺑﻪ ﺭﻭﯼ‬ ‫ﺻﺤﻨﻪ ﻣﯽﺑﺮﻳﻢ ﻭ ﺑﺎ ﺁﻥ ﻗﻄﻌﺎﺗﯽ ﺭﺍ ﺍﺟﺮﺍ ﻣﯽﮐﻨﻴﻢ‪ .‬ﻫﻤﭽﻨﻴﻦ‬ ‫ﺩﺭ ﺑﺮﺧﯽ ﺍﺯ ﻗﻄﻌﺎﺕ ﺳﺎﺯ ﺩﺍﻳﺮﻩ ﺭﺍ ﺩﺭ ﮐﻨﺎﺭ ﭘﻴﺎﻧﻮ ﻗﺮﺍﺭ ﺩﺍﺩﻩ‬ ‫ﺍﻳﻢ ﺗﺎ ﺍﺛﺒﺎﺕ ﺷﻮﺩ ﮐﻪ ﺳﺎﺯﯼ ﮐﻪ ﺍﺯ ﻧﻈﺮ ﻗﻴﻤﺘﯽ ﺑﺴﻴﺎﺭ ﺍﺭﺯﺍﻥ‬ ‫ﺍﺳــﺖ ﻣﯽﺗﻮﺍﻧﺪ ﺩﺭ ﮐﻨﺎﺭ ﺳﺎﺯﯼ ﻗﺮﺍﺭ ﮔﻴﺮﺩ ﮐﻪ ﻳﮏ ﻣﻴﻠﻴﺎﺭﺩ‬ ‫ﺗﻮﻣــﺎﻥ ﺍﺭﺯﺵ ﺩﺍﺭﺩ‪.‬ﻭﯼ ﺑــﺎ ﺍﻧﺘﻘــﺎﺩ ﺍﺯ ﺑﻪ ﮐﺎﺭ ﺑــﺮﺩﻥ ﻭﺍﮊﻩ‬ ‫ﺳﺮﭘﺮﺳﺖ ﺩﺭ ﻣﻮﺳﻴﻘﯽ ﺍﻳﺮﺍﻧﯽ ﮔﻔﺖ‪ :‬ﻫﻤﻪ ﻧﻮﺍﺯﻧﺪﮔﺎﻧﯽ ﮐﻪ‬ ‫ﺩﺭ ﮔﺮﻭﻩ ﺷــﺮﻗﯽ ﻧﻮﺍﺯﻧﺪﮔﯽ ﻣﯽﮐﻨﻨﺪ ﺗﻮﺍﻧﺎﻳﯽ ﺍﺩﺍﺭﻩ ﺧﻮﺩ ﺭﺍ‬ ‫ﺩﺍﺭﻧﺪ ﻭ ﻫﻴﭻ ﻧﻴﺎﺯﯼ ﺑﻪ ﺳﺮﭘﺮﺳﺖ ﻧﺪﺍﺭﻧﺪ ﺩﺭ ﻭﺍﻗﻊ ﺁﻧﻬﺎ ﻳﺘﻴﻢ‬ ‫ﻧﻴﺴﺘﻨﺪ ﮐﻪ ﺑﻪ ﺳﺮﭘﺮﺳﺘﯽ ﻣﻦ ﻳﺎ ﺩﻳﮕﺮﺍﻥ ﻧﻴﺎﺯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﻣﻦ ﺑﻪ ﮐﺎﺭ ﺑﺮﺩﻥ ﻭﺍﮊﻩ ﺳﺮﭘﺮﺳــﺖ ﺩﺭ ﻣﻮﺳــﻴﻘﯽ ﺍﻳﺮﺍﻧﯽ ﺭﺍ‬ ‫ﻧﻤﯽﭘﺴﻨﺪﻡ‪.‬ﺍﻳﻦ ﻧﻮﺍﺯﻧﺪﻩ ﭘﻴﺎﻧﻮ ﺩﺭﺑﺎﺭﻩ ﻣﺸﮑﻼﺕ ﺑﺮﮔﺰﺍﺭﯼ‬ ‫ﮐﻨﺴﺮﺕ ﺑﺎ ﺳﺎﺯ ﭘﻴﺎﻧﻮ ﺧﺎﻃﺮﻧﺸﺎﻥ ﮐﺮﺩ‪ :‬ﺗﺎﻻﺭ ﻭﺣﺪﺕ ﺗﻨﻬﺎ‬ ‫ﺳﺎﻟﻨﯽ ﺍﺳﺖ ﮐﻪ ﺩﻭ ﺳﺎﺯ ﭘﻴﺎﻧﻮ ﺩﺭ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻭ ﮔﺮﻭﻩﻫﺎﯼ‬ ‫ﻣﻮﺳﻴﻘﯽ ﺑﺮﺍﯼ ﺍﺟﺮﺍ ﺑﺎ ﺍﻳﻦ ﺳﺎﺯ ﻫﻴﭻ ﻣﺸﮑﻠﯽ ﻧﺪﺍﺭﻧﺪ ﺍﻣﺎ ﺩﺭ‬ ‫ﺩﻳﮕﺮ ﺳﺎﻟﻦﻫﺎﯼ ﺗﻬﺮﺍﻥ ﺳﺎﺯ ﭘﻴﺎﻧﻮ ﭘﻴﺶ ﺑﻴﻨﯽ ﻧﺸﺪﻩ ﺍﺳﺖ ﻭ‬ ‫ﻫﻤﻴﻦ ﻣﺴﺌﻠﻪ ﻣﺸﮑﻼﺕ ﺑﺴﻴﺎﺭﯼ ﺭﺍ ﺑﺮﺍﯼ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﺍﻳﻦ‬ ‫ﺳﺎﺯ ﺑﻪ ﻭﺟﻮﺩ ﻣﯽﺁﻭﺭﺩ‪.‬ﻭﯼ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ :‬ﻫﺮ ﺳﺎﻟﻨﯽ ﺑﺎﻳﺪ ﻳﮏ‬ ‫ﻳﺎ ﺩﻭ ﭘﻴﺎﻧﻮ ﺑﺮﺍﯼ ﻫﻤﻴﺸﻪ ﺩﺭ ﭘﺸﺖ ﺻﺤﻨﻪ ﺧﻮﺩ ﻧﮕﻬﺪﺍﺭﯼ‬ ‫ﮐﻨﺪ ﺗﺎ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﭘﻴﺎﻧﻮ ﻣﺠﺒﻮﺭ ﻧﺒﺎﺷﻨﺪ ﺑﺮﺍﯼ ﺑﺮﮔﺰﺍﺭﯼ ﻫﺮ‬ ‫ﮐﻨﺴﺮﺗﯽ ﭘﻴﺎﻧﻮ ﺍﺟﺎﺭﻩ ﮐﻨﻨﺪ‪ .‬ﺍﺟﺎﺭﻩ ﺑﻬﺎﯼ ﻳﮏ ﭘﻴﺎﻧﻮ ‪ ۵‬ﻣﻴﻠﻴﻮﻥ‬ ‫ﺗﻮﻣــﺎﻥ ﻫﺰﻳﻨﻪ ﺩﺭ ﺑﺮ ﺩﺍﺭﺩ ﮐﻪ ﺍﻳــﻦ ﻫﺰﻳﻨﻪ ﺑﺮﺍﯼ ﮔﺮﻭﻩﻫﺎﯼ‬ ‫ﻣﻮﺳﻴﻘﯽ ﮔﺮﺍﻥ ﺗﻤﺎﻡ ﻣﯽﺷﻮﺩ‪ .‬ﻫﻤﻴﻦ ﻣﺴﺌﻠﻪ ﻣﻮﺟﺐ ﺗﻤﺎﻳﻠﻢ‬ ‫ﺑﺮﺍﯼ ﺑﺮﮔﺰﺍﺭﯼ ﮐﻨﺴــﺮﺕ ﺩﺭ ﺗﺎﻻﺭ ﻭﺣﺪﺕ ﺷــﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺳﺎﻣﺎﻥ ﺍﺣﺘﺸﺎﻣﯽﺑﻪ ﻫﻤﺮﺍﻩ ﮔﺮﻭﻩ ﺷــﺮﻗﯽ ﺩﺭ ﺭﻭﺯﻫﺎﯼ ‪۲۷‬‬ ‫ﻭ ‪ ۲۸‬ﻣﻬﺮ ﺳــﺎﻝﺟﺎﺭﯼ ﺩﺭ ﺗﺎﻻﺭ ﻭﺣﺪﺕ ﮐﻨﺴــﺮﺕ ﺧﻮﺩ‬ ‫ﺭﺍ ﺑﺮﮔﺰﺍﺭ ﻣﯽﮐﻨﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺍﻳﻦ ﺑﺮﻧﺎﻣﻪ ﮐﻴﻮﺍﻥ ﺳــﺎﮐﺖ‬ ‫ﻧﻮﺍﺯﻧﺪﻩ ﻣﻬﻤﺎﻥ ﮔﺮﻭﻩ ﺷﺮﻗﯽ ﺍﺳﺖ‪.‬‬

‫ﺑﺮﺍﯼ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﭘﺎﻧﺰﺩﻩ ﻗﻄﻌﻪ ﺍﺯ ﺁﺛﺎﺭ ﺍﺳﺘﺎﺩ ﺍﺑﻮﻟﺤﺴﻦ ﺻﺒﺎ ﺗﻮﺳﻂ ﺁﺭﭘﮋ ﺧﻴﺎﻁ ﺗﻴﻤﻮﺭﻳﺎﻥ ﮔﺮﺩﺁﻭﺭﯼ ﻭ ﺑﺮﺍﯼ ﺳﺎﺯ ﺑﺮﺑﺖ ﺗﻨﻈﻴﻢ ﻭ ﺩﺭ ﺩﺳﺖ‬ ‫ﺍﻧﺘﺸﺎﺭ ﺍﺳﺖ‪.‬ﺁﺭﭘﮋ ﺧﻴﺎﻁ ﺗﻴﻤﻮﺭﻳﺎﻥ‪،‬ﻧﻮﺍﺯﻧﺪﻩ ﺑﺮﺑﺖ‪،‬ﺩﺭ ﮔﻔﺖ ﻭ ﮔﻮ ﺑﺎ ﻫﻨﺮﺁﻧﻼﻳﻦ ﮔﻔﺖ ‪:‬ﺩﺭ ﺩﻭﺭﺍﻧﯽ ﮐﻪ ﺳﺎﺯ ﺑﺮﺑﺖ ﺭﺍ ﻣﯽﺁﻣﻮﺧﺘﻢ ﻫﻤﻴﺸﻪ ﺑﺎ‬ ‫ﮐﻤﺒﻮﺩ ﺭﭘﺮﺗﻮﺍﺭ ﺑﺮﺍﯼ ﺗﻤﺮﻳﻦ ﻣﻮﺍﺟﻪ ﺑﻮﺩﻡ ﻭ ﻣﺠﺒﻮﺭ ﺑﻮﺩﻡ ﺍﺯ ﺭﭘﺮﺗﻮﺍﺭ ﺳﺎﺯﻫﺎﻳﯽ ﭼﻮﻥ ﺗﺎﺭ ﻭ ﺳﻨﺘﻮﺭ ﺑﺮﺍﯼ ﺗﻤﺮﻳﻦ ﺍﺳﺘﻔﺎﺩﻩ ﮐﻨﻢ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ‬ ‫ﻫﻤﻴﺸﻪ ﻣﻦ ﺭﺍ ﺭﻧﺞ ﻣﯽﺩﺍﺩ ﻭ ﺁﺭﺯﻭ ﺩﺍﺷﺘﻢ ﺭﻭﺯﯼ ﺑﺘﻮﺍﻧﻢ ﺑﺮﺍﯼ ﺗﮑﺎﻣﻞ ﺭﭘﺮﺗﻮﺍﺭ ﺳﺎﺯ ﺑﺮﺑﺖ ﻫﻢ ﮔﺎﻡ ﺑﺮﺩﺍﺭﻡ‪.‬ﻭﯼ ﺍﻓﺰﻭﺩ‪ :‬ﻧﮕﺎﺭﺵ ﭘﺎﻧﺰﺩﻩ ﻗﻄﻌﻪ ﺍﺯ‬

‫ﺍﻣﺴﺎﻝ ﺑﻴﺴــﺖ ﺳــﺎﻝ ﺍﺯ ﻣﺮﮒ ﺯﻭﺩﺭﺱ ﺣﺒﻴﺐﺍﷲ‬ ‫ﺑﺪﻳﻌﯽ ﻣﯽﮔﺬﺭﺩ‪ .‬ﺯﺍﺩ ﺭﻭﺯ ﺍﻭ ﺭﺍ ﭼﻬﺎﺭﻡ ﻓﺮﻭﺭﺩﻳﻦ ‪۱۳۱۲‬‬ ‫ﻭ ﺗﺎﺭﻳﺦ ﺩﺭﮔﺬﺷﺘﺶ ﺭﺍ ‪ ۲۸‬ﻣﻬﺮﻣﺎﻩ ‪ ۱۳۷۱‬ﺛﺒﺖ ﮐﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺣﺴــﺎﺏ ﺗﻨﻬﺎ ‪ ۵۹‬ﺳﺎﻝ ﻋﻤﺮ ﮐﺮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺭﻭﺳﺘﺎﯼ‬ ‫»ﺍﺯﺍﻥﺩﻩ«‪ ،‬ﺍﺯ ﺗﻮﺍﺑﻊ ﺷﻬﺮﺳﺘﺎﻥ ﺳﻮﺍﺩﮐﻮﻩ ﺗﻮﻟﺪ ﻳﺎﻓﺖ‪ ،‬ﺍﻣﺎ‬ ‫ﺍﺯ ﺩﻭﺳــﺎﻟﮕﯽ ﺩﺭ ﺳــﺎﺭﯼ ﻭ ﺍﺯ ﻫﻔﺖ ﺳﺎﻟﮕﯽ ﺩﺭ ﺗﻬﺮﺍﻥ‬ ‫ﺯﻧﺪﮔﯽ ﮐﺮﺩ‪ .‬ﻣﻘﺪﻣﺎﺕ ﻭﻳﻠﻦﻧﻮﺍﺯﯼ ﺍﻳﺮﺍﻧﯽ ﺭﺍ ﺍﺯ ﻟﻄﻒﺍﷲ‬ ‫ﻣﻔﺨﻢ ﭘﺎﻳﺎﻥ ﺁﻣﻮﺧﺖ ﻭ ﺩﻭﺭﻩ ﺗﮑﻤﻴﻠﯽ ﺭﺍ ﻧﺰﺩ ﺍﺑﻮﺍﻟﺤﺴﻦ‬ ‫ﺻﺒﺎ ﮔﺬﺭﺍﻧــﺪ‪ .‬ﻣﺪﺗﯽ ﻫﻢ ﺍﺗﻮﺩﻫﺎﯼ ﻭﻳﻠﻦ ﻓﺮﻧﮕﯽ ﺭﺍ ﻧﺰﺩ‬ ‫ﻧﻮﺍﺯﻧﺪﻩﺍﯼ ﺍﺭﻣﻨﯽ ﺑﻪ ﻧﺎﻡ ﺟﻴﻨﮕﻮﺯﻳﺎﻥ ﻣﺸﻖ ﮐﺮﺩ‪ .‬ﻓﻌﺎﻟﻴﺖ‬ ‫ﺣﺮﻓﻪﺍﯼﺍﺵ ﺍﺯ ﺳــﺎﻝ ‪ ۱۳۲۹‬ﺩﺭ ﺑﺮﻧﺎﻣﻪ ﻣﻮﺳﻴﻘﯽ ﺭﺍﺩﻳﻮ‬ ‫ﺍﺭﺗﺶ ﺁﻏﺎﺯ ﺷــﺪ‪ .‬ﺍﺯ ﺍﻭﺍﺳﻂ ﺩﻫﻪ ‪ ۱۳۳۰‬ﺩﺭ ﺑﺮﻧﺎﻣﻪ ﮔﻠﻬﺎ‬ ‫ﺣﻀــﻮﺭ ﻳﺎﻓﺖ ﻭ ﺩﺭ ﻣﺪﺗﯽ ﮐﻮﺗــﺎﻩ ﺍﺯ ﺗﮑﻨﻮﺍﺯﺍﻥ ﻣﻄﺮﺡ‬ ‫ﺍﻳــﻦ ﺑﺮﻧﺎﻣــﻪ ﺷــﺪ‪ .‬ﻫﻤــﮑﺎﺭﯼ ﺍﻭ ﺑــﺎ ﺑﺮﻧﺎﻣــﻪ ﮔﻠﻬﺎ ﻭ‬ ‫ﺯﻳﺮﻣﺠﻤﻮﻋﻪﻫﺎﻳﺶ )ﺑﺮﮒ ﺳــﺒﺰ‪ ،‬ﺷﺎﺧﻪ ﮔﻞ‪ ،‬ﺗﮑﻨﻮﺍﺯﺍﻥ‬ ‫ﻭ‪ (...‬ﺗﺎ ﺳــﺎﻝ ‪ ۱۳۵۷‬ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ ﻭ ﻃﯽ ﺍﻳﻦ ﻣﺪﺕ ﺩﺭ‬ ‫ﻣﻘﺎﻡ ﺗﮑﻨــﻮﺍﺯ‪ ،‬ﻫﻤﻨــﻮﺍﺯ‪ ،‬ﻭ ﺁﻫﻨﮕﺴــﺎﺯ ﺩﺭ ﺩﻩﻫﺎ ﺑﺮﻧﺎﻣﻪ‬ ‫ﺷﺮﮐﺖ ﻭ ﺑﺎ ﺳﺮﺍﻧﮕﺸﺘﺎﻥ ﺍﻓﺴﻮﻧﮕﺮﺵ ﻧﻮﺍﻫﺎﻳﯽ ﺟﺎﻭﻳﺪﺍﻥ‬ ‫ﺧﻠﻖ ﻭ ﺿﺒﻂ ﮐﺮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺳــﺎﻝ ‪ ۵۷‬ﺑﺎ ﺣﺬﻑ ﻭﻳﻠﻦ ﺍﺯ‬ ‫ﻣﻮﺳــﻴﻘﯽ ﺍﻳﺮﺍﻧﯽ ﻭ ﻣﻨﺰﻭﯼ ﺷــﺪﻥ ﺗﮑﻨﻮﺍﺯﺍﻥ ﺍﻳﻦ ﺳﺎﺯ‪،‬‬ ‫ﺑﺪﻳﻌــﯽ ﻫﻤﭽــﻮﻥ ﻫﻢﻗﻄﺎﺭﺍﻧﺶ ﺧﺎﻧﻪﻧﺸــﻴﻦ ﺷــﺪ‪ .‬ﺍﺯ‬ ‫ﻧﻮﺍﺧﺘﻪﻫﺎﯼ ﺩﻫﻪ ﺷﺼﺖ ﺑﺪﻳﻌﯽ ﺿﺒﻂﻫﺎﻳﯽ ﭘﺮﺍﮐﻨﺪﻩ ﻭ‬ ‫ﺍﻏﻠﺐ ﺧﺼﻮﺻﯽ ﺩﺭ ﺩﺳــﺖ ﺍﺳــﺖ‪ .‬ﻳﮑــﯽ ﺍﺯ ﺑﻬﺘﺮﻳﻦ‬ ‫ﻧﻤﻮﻧﻪﻫﺎ‪ ،‬ﺍﺟﺮﺍﻳﯽ ﺍﺳﺖ ﺩﺭﺧﺸﺎﻥ ﺩﺭ ﻣﻘﺎﻡﻫﺎﯼ ﻣﺎﻫﻮﺭ ﻭ‬ ‫ﺍﺻﻔﻬــﺎﻥ ﻭ ﺷــﻮﺭ ﮐﻪ ﺩﺭ ﻣﺤﻔﻠﯽ ﺧﺼﻮﺻﯽ ﺍﺳــﺖ ﻭ‬ ‫ﺍﻭﺝ‬ ‫ﺍﺳــﺘﺎﺩ ﺷــﺠﺮﻳﺎﻥ ﺑﺎ ﺍﺑﻴﺎﺗﯽ ﺍﺯ ﺳــﻌﺪﯼ‪ ،‬ﺳــﺎ ِﺯ ﺩﺭ ِ‬ ‫ﭘﺨﺘﮕــﯽ ﺍﻭ ﺭﺍ ﻫﻤﺮﺍﻫﯽ ﻣﯽﮐﻨﺪ‪.‬ﻧﺎﺑﺴــﺎﻣﺎﻧﯽ ﺯﻧﺪﮔﯽ ﻭ‬ ‫ﺷﮑﺴــﺖﻫﺎﯼ ﻋﺎﻃﻔﯽ ﻭ ﻣﺮﮒ ﻋﺰﻳﺰﺍﻥ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺑﺮﺍﺩﺭ‬ ‫ﺑﺰﺭﮔﺘﺮﺵ‪ ،‬ﺩﺭ ﺍﻭﺍﺳﻂ ﺩﻫﻪ‪ ،۶۰‬ﺭﻭﺡ ﺣﺴﺎﺱ ﺣﺒﻴﺐ ﺭﺍ‬ ‫ﺁﺯﺭﺩﻩ ﻭ ﺟﺴــﻤﺶ ﺭﺍ ﻓﺮﺳــﻮﺩﻩ ﮐﺮﺩ‪ .‬ﭘﻴﺎﻣﺪ ﺍﻳﻦ ﻣﺴﺎﺋﻞ‬ ‫ﺑﺮﺍﯼ ﺑﺪﻳﻌﯽ ﻧﺎﺭﺍﺣﺘﯽ ﺩﺳﺘﮕﺎﻩ ﮔﻮﺍﺭﺵ ﻭ ﻧﺎﺭﺳﺎﻳﯽ ﻗﻠﺒﯽ‬ ‫ﺑﻮﺩ ﮐﻪ ﺍﻭ ﺭﺍ ﺩﺭ ﺍﻭﺝ ﺗﻮﺍﻥ ﻫﻨﺮﯼ ﺍﺯ ﭘﺎ ﺩﺭﺁﻭﺭﺩ‪ .‬ﭘﻴﮑﺮﺵ‬ ‫ﺩﺭ ‪۲۹‬ﻣﻬﺮﻣــﺎﻩ ‪ ۱۳۷۱‬ﺑــﺎ ﺑﺪﺭﻗــﻪ ﺷــﻤﺎﺭ ﺑﺴــﻴﺎﺭﯼ ﺍﺯ‬ ‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺷﻨﻮﻧﺪﮔﺎﻥ ﺳﺎﺯ ﺍﻭ‪ ،‬ﺩﺭ ﺍﻣﺎﻣﺰﺍﺩﻩ ﻃﺎﻫﺮ ﮐﺮﺝ‬ ‫ﺑــﺎ ﺍﺣﺘﺮﺍﻡ ﺁﺭﺍﻡ ﮔﺮﻓﺖ‪ .‬ﺑﺪﻳﻌﯽ ﭘﺮﻭﺭﺩﻩ ﺑﺮﻧﺎﻣﻪ ﮔﻠﻬﺎ ﺑﻮﺩ‪.‬‬ ‫ﭘﻴﺸــﮕﺎﻣﺎﻥ ﺑﺮﻧﺎﻣﻪ ﮐﺴــﺎﻧﯽ ﭼﻮﻥ ﻋﻠﯽﻧﻘــﯽ ﻭﺯﻳﺮﯼ‪،‬‬ ‫ﺍﺑﻮﺍﻟﺤﺴــﻦ ﺻﺒــﺎ‪ ،‬ﻭ ﺭﻭﺡ ﺍﷲ ﺧﺎﻟﻘﯽ ﺑﻮﺩﻧﺪ‪ .‬ﺗﮑﻨﻮﺍﺯﺍﻥ‬ ‫ِ‬ ‫ﺍﺳــﺘﺎﺩﺍﻥ ﻣﺘﺼﻞ ﺑﻪ‬ ‫ﮔﻠﻬــﺎ ﺑــﺎ ﺁﻥﮐــﻪ ﺍﻏﻠــﺐ ﺷــﺎﮔﺮ ِﺩ‬ ‫ِ‬ ‫ﻣﻮﺳﻴﻘﻴﺪﺍﻧﺎﻥ ﻋﻬﺪ ﻗﺎﺟﺎﺭ ﺑﻮﺩﻧﺪ ﻭ ﺑﺎ ﺷﻴﻮﻩ ﻧﻮﺍﺯﻧﺪﮔﯽ ﻭ‬ ‫ﺭﺩﻳﻒﻫﺎﯼ ﻣﺘﻘﺪﻣﻴﻦ ﺁﺷــﻨﺎﻳﯽ ﮐﺎﻣﻞ ﺩﺍﺷــﺘﻨﺪ‪ ،‬ﭼﻨﺪﺍﻥ‬ ‫ﺗﻤﺎﻳﻠﯽ ﺑﻪ ﭘﻴﺮﻭﯼ ﺍﺯ ﺳﻨﺖﻫﺎﯼ ﻣﻮﺳﻴﻘﯽ ﺍﻳﺮﺍﻥ ﻧﺪﺍﺷﺘﻨﺪ‬ ‫ﻭ ﺑﻪ ﺟﺎﯼ ﺍﺟــﺮﺍﯼ ﻣﻮﺑﻪﻣﻮﯼ ﺍﻟﮕﻮﯼ ﺭﺩﻳﻒ‪ ،‬ﺑﻪ ﻧﻮﻋﯽ‬ ‫ﻧﻮﺍﺯﻧﺪﮔﯽ ﺑﺮ ﻣﺒﻨﺎﯼ ﺣﺎﻟﺖﻫﺎﯼ ﺭﺩﻳﻒ‪ ،‬ﺍﻣﺎ ﺑﺎ ﺟﻤﻼﺗﯽ‬ ‫ﻣﺘﻔــﺎﻭﺕ ﺍﺯ ﺁﻥ ﺭﻭﯼ ﺁﻭﺭﺩﻧﺪ ﮐﻪ ﻏﺎﻟﺒ ًﺎ ﺣﺎﺻﻞ ﺁﻓﺮﻳﻨﺶ‬ ‫ﻟﺤﻈﻪﺍﯼ ﺑﻮﺩ ﻭ ﻫﻤﻴﻦ ﺷﻴﻮﻩ ﺍﺳﺖ ﮐﻪ ﻫﻨﺮﻣﻨﺪﺍﻧﯽ ﭼﻮﻥ‬ ‫ﺍﺣﻤﺪ ﻋﺒﺎﺩﯼ‪ ،‬ﺟﻠﻴﻞ ﺷــﻬﻨﺎﺯ‪ ،‬ﺣﺴــﻦ ﮐﺴﺎﻳﯽ ﻭ ﭘﺮﻭﻳﺰ‬ ‫ﻳﺎﺣﻘﯽ ﺭﺍ ﺩﺭ ﺻﺪﺭ ﻫﻨﺮ ﺑﺪﺍﻫﻪ ﻧﻮﺍﺯﯼ ﺍﻳﺮﺍﻥ ﻣﯽﻧﺸــﺎﻧﺪ‪.‬‬ ‫ﭼﻨﺪﺍﻥ ﻧﭙﺎﻳﻴﺪ ﮐﻪ ﻧﺒﻮﻍ ﻧﻬﻔﺘﻪ ﺑﺪﻳﻌﯽ ﺁﺷــﮑﺎﺭ ﺷﺪ ﻭ ﺩﺭ‬ ‫ﺳﻨﻴﻦ ﮐﻤﺘﺮ ﺍﺯ ‪ ۲۵‬ﺳﺎﻝ‪ ،‬ﺩﺭ ﺑﺮﻧﺎﻣﻪ ﮔﻠﻬﺎﯼ ﺟﺎﻭﻳﺪﺍﻥ‪ ،‬ﮐﻪ‬ ‫ﻣﺨﺘــﺺ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺗﺮﺍﺯ ﺍﻭﻝ ﺑــﻮﺩ‪ ،‬ﺩﺭ ﮐﻨﺎﺭ ﻧﺎﻡ ﺁﻭﺭﺍﻧﯽ‬ ‫ﭼﻮﻥ ﺑﻨﺎﻥ‪ ،‬ﻣﺮﺗﻀﯽ ﻣﺤﺠﻮﺑــﯽ‪ ،‬ﻣﻬﺪﯼ ﺧﺎﻟﺪﯼ‪ ،‬ﻋﻠﯽ‬ ‫ﺗﺠﻮﻳﺪﯼ‪ ،‬ﻭ ﺣﺴﻦ ﮐﺴــﺎﻳﯽ ﻭﻳﻠﻦ ﻧﻮﺍﺧﺖ‪ .‬ﺷﺎﻳﺪ ﺗﻨﻬﺎ‬ ‫ﮐﺴــﯽ ﮐﻪ ﺑﻪ ﻟﺤــﺎﻅ ﺟﻮﺍﻧﯽ ﻭ ﺟﺎﻳﮕﺎﻩ ﻫﻨــﺮﯼ ﺩﺭ ﺍﻳﻦ‬ ‫ﺩﻭﺭﻩ ﺑﺎ ﺑﺪﻳﻌﯽ ﻗﺎﺑﻞ ﻗﻴﺎﺱ ﺍﺳﺖ‪ ،‬ﭘﺮﻭﻳﺰ ﻳﺎﺣﻘﯽ ﺍﺳﺖ‬ ‫ﮐﻪ ﺩﺭ ﻫﻤﺎﻥ ﺭﻭﺯﻫﺎﯼ ﭘﻴﺶ ﺍﺯ ‪ ۲۵‬ﺳــﺎﻟﮕﯽ‪ ،‬ﺑﺎ ﺑﺰﺭﮔﺎﻥ‬ ‫ﻣﻮﺳــﻴﻘﯽ ﺍﻳﺮﺍﻥ ﻫﻢﻧﻮﺍ ﺷــﺪ‪ .‬ﺑﺪﻳﻌﯽ ﺩﺭ ﻣﺪﺕ ﺑﻴﺶ ﺍﺯ‬ ‫ﺑﻴﺴــﺖ ﺳــﺎﻝ ﻫﻤﮑﺎﺭﯼ ﺑﺎ ﺑﺮﻧﺎﻣﻪ ﮔﻠﻬﺎ‪ ،‬ﺗﻘﺮﻳﺒ ًﺎ ﺑﺎ ﺗﻤﺎﻡ‬ ‫ﻣﻮﺳــﻴﻘﻴﺪﺍﻧﺎﻥ ﺳﺮﺷــﻨﺎﺱ ﺭﺍﺩﻳﻮ‪ ،‬ﺍﻋــﻢ ﺍﺯ ﺧﻮﺍﻧﻨﺪﻩ ﻭ‬ ‫ﻧﻮﺍﺯﻧــﺪﻩ‪ ،‬ﻫﻤﮑﺎﺭﯼ ﮐﺮﺩ‪ .‬ﺁﻫﻨﮕﺴــﺎﺯﯼ ﺭﺍ ﻫﻢ ﺍﺯ ﺳــﺎﻝ‬ ‫‪ ۱۳۳۰‬ﺁﻏﺎﺯ ﮐــﺮﺩ ﻭ ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩﺵ‪ ،‬ﺩﺭ ﻣﺪﺕ ﺣﻀﻮﺭ‬ ‫ﺩﺭ ﺭﺍﺩﻳﻮ ﺣﺪﻭﺩ ﺩﻭﻳﺴﺖ ﺗﺼﻨﻴﻒ ﺳﺎﺧﺖ ﮐﻪ ﺷﻌﺮﺷﺎﻥ‬ ‫ﺭﺍ ﺗﺮﺍﻧﻪ ﺳــﺮﺍﻳﺎﻧﯽ ﭼﻮﻥ ﺍﺳــﻤﺎﻋﻴﻞ ﻧﻮﺍﺏ ﺻﻔﺎ‪ ،‬ﺑﻴﮋﻥ‬ ‫ﺗﺮﻗﯽ‪ ،‬ﻭ ﮐﺮﻳﻢ ﻓﮑﻮﺭ ﺳــﺮﻭﺩﻧﺪ؛ ﺍﻣﺎ ﺑﻴﺸﺘﺮﻳﻦ ﺗﺮﺍﻧﻪﻫﺎ ﺭﺍ‬ ‫ﺭﺣﻴﻢ ﻣﻌﻴﻨﯽ ﮐﺮﻣﺎﻧﺸــﺎﻫﯽ ﺑﺮﺍﯼ ﺳــﺎﺧﺘﻪﻫﺎﯼ ﺑﺪﻳﻌﯽ‬ ‫ﺳﺮﻭﺩ‪ ،‬ﭼﻨﺎﻥﮐﻪ ﻣﯽﺗﻮﺍﻥ ﺍﻳﻦ ﺩﻭ ﺭﺍ ﻫﻤﭽﻮﻥ ﺑﻴﮋﻥ ﺗﺮﻗﯽ‬ ‫ﻭ ﭘﺮﻭﻳــﺰ ﻳﺎﺣﻘﯽ ﺯﻭﺟﯽ ﻫﻨﺮﯼ ﺑﻪ ﺷــﻤﺎﺭ ﺁﻭﺭﺩ‪ .‬ﺑﺎ ﺍﻳﻦ‬ ‫ﻫﻤﻪ‪ ،‬ﺗﺼﻨﻴﻒﻫﺎﯼ ﺑﺪﻳﻌﯽ ﺑﻪ ﺭﻏﻢ ﻣﻮﺳﻴﻘﯽ ﻏﻨﯽ ﻭ ﮐﻼﻡ‬ ‫ﺭﻭﺍﻥ ﻭ ﺍﺟــﺮﺍ ﻭ ﺿﺒــﻂ ﻣﻄﻠــﻮﺏ‪ ،‬ﺩﺭ ﺳــﺎﻝﻫﺎﯼ ﺑﻌﺪ‬ ‫ﭼﻨﺪﺍﻥ ﺗﻮﻓﻴﻘﯽ ﻧﻴﺎﻓﺖ ﻭ ﺩﺭ ﻗﻴﺎﺱ ﺑﺎ ﺳﺎﺧﺘﻪﻫﺎﯼ ﮐﺴﺎﻧﯽ‬ ‫ﭼــﻮﻥ ﻋﻠــﯽ ﺗﺠﻮﻳــﺪﯼ ﻭ ﻫﻤﺎﻳــﻮﻥ ﺧﺮﻡ ﮐــﻪ ﺑﺎﺭﻫﺎ‬ ‫ﺑﺎﺯﺧﻮﺍﻧﯽ ﺷﺪﻩ ﻭ ﻫﻤﭽﻨﺎﻥ ﻣﺤﺒﻮﺏ ﻋﻤﻮﻡ ﺍﺳﺖ‪ ،‬ﺍﻗﺒﺎﻟﯽ‬ ‫ﻧﺪﺍﺷــﺖ‪ .‬ﺷــﺎﻳﺪ ﺗﻨﻬﺎ ﺗﺮﺍﻧﻪ ﺍﻭ ﮐﻪ ﻫﻨﻮﺯ ﺩﺭ ﻳﺎﺩﻫﺎ ﺑﺎﻗﯽ‬ ‫ﺍﺳــﺖ‪» ،‬ﮐﻌﺒﻪ ﺩﻟﻬﺎ« ﺑﺎﺷــﺪ ﮐﻪ ﺑﺎ ﮐﻼﻣﯽﮔــﺮﻡ ﺍﺯ ﺑﻴﮋﻥ‬ ‫ﺗﺮﻗﯽ‪ ،‬ﺩﺭ ﺑﺮﻧﺎﻣﻪ ﮔﻠﻬﺎﯼ ﺭﻧﮕﺎﺭﻧﮓ ﺷــﻤﺎﺭﻩ ‪ ۳۸۸‬ﭘﺨﺶ‬ ‫ﺷــﺪ‪ .‬ﺑﺮ ﺍﻳــﻦ ﺍﺳــﺎﺱ‪ ،‬ﺭﺍﺯ ﭘﺎﻳﻨﺪﮔﯽ ﺑﺪﻳﻌــﯽ ﺭﺍ ﻧﻪ ﺩﺭ‬ ‫ﺗﺼﻨﻴــﻒ ﺳــﺎﺯﯼ‪ ،‬ﺑﻠﮑــﻪ ﺩﺭ ﻗــﺪﺭﺕ ﻓــﻮﻕ ﻋــﺎﺩﯼ‬ ‫ﻧﻮﺍﺯﻧﺪﮔــﯽﺍﺵ ﺑﺎﻳﺪ ﺟﺴــﺖ‪ .‬ﺍﺣﺎﻃﻪ ﮐﺎﻣــﻞ ﺑﺮ ﺭﺩﻳﻒ‬ ‫ﻣﻮﺳــﻴﻘﯽ ﺍﻳــﺮﺍﻥ ﻭ ﺁﻣﻴﺨﺘــﻦ ﺁﻥ ﺑﺎ ﻧــﺎﺯﮎ ﮐﺎﺭﯼﻫﺎ ﻭ‬

‫ﺻﺒﺎ ﺣﺪﻭﺩ ﻳﮏ ﺳﺎﻝ ) ﺑﻪ ﻃﻮﺭﻧﻴﻤﻪ ﻭﻗﺖ ( ﺯﻣﺎﻥ ﺑﺮﺩﻩ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﮐﺘﺎﺏ ﺑﺮﺍﯼ ﻫﻨﺮﺟﻮﻳﺎﻥ ﺩﻭﺭﻩ ﻣﺘﻮﺳﻄﻪ ﺑﻪ ﻧﮕﺎﺭﺵ ﺩﺭ ﺁﻣﺪﻩ ﺗﺎ ﺩﺭ ﺍﺑﺘﺪﺍﯼ‬ ‫ﺭﺍﻩ ﻧﻮﺍﺯﻧﺪﮔﯽ ﺑﺘﻮﺍﻧﻨﺪ ﺑﺎ ﺁﺛﺎﺭ ﻗﺪﻣﺎ ﻭ ﭘﻴﺸﮑﺴﻮﺗﺎﻥ ﻣﻮﺳﻴﻘﯽ ﺁﺷﻨﺎ ﺷﻮﻧﺪ‪.‬ﺍﻳﻦ ﻧﻮﺍﺯﻧﺪﻩ ﺑﺮﺑﺖ ﮔﻔﺖ‪ :‬ﻗﻄﻌﺎﺕ ﺍﻳﻦ ﮐﺘﺎﺏ ﺩﺭ ﻣﺎﻳﻪ ﺩﺷﺘﯽ‪ ،‬ﺍﻓﺸﺎﺭﯼ‪،‬‬ ‫ﺑﻴﺎﺕ ﺗﺮﮎ‪ ،‬ﺳﻪ ﮔﺎﻩ ﺑﻪ ﻧﮕﺎﺭﺵ ﺩﺭ ﺁﻣﺪﻩ ﻫﻤﭽﻨﻴﻦ ﺑﺎ ﭼﻨﺪ ﻧﺎﺷﺮ ﻭﺍﺭﺩ ﻣﺬﺍﮐﺮﻩ ﺷﺪﻩ ﺍﻡ ﻭ ﺑﺎ ﻧﻈﺎﺭﺕ ﺍﺳﺘﺎﺩ ﺑﻬﺮﻭﺯﯼ ﻧﻴﺎ ﺑﺰﻭﺩﯼ ﺩﺭ ﺩﺳﺘﺮﺱ ﻋﻼﻗﻪ‬ ‫ﻣﻨﺪﺍﻥ ﺍﻳﻦ ﺳﺎﺯ ﻗﺮﺍﺭ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ‪.‬‬

‫ﻳﺎﺩﺑﻮﺩ ﺑﻴﺴﺘﻤﻴﻦ ﺳﺎﻝ ﺧﺎﻣﻮﺷﯽ ﺍﺳﺘﺎﺩ ﺣﺒﻴﺐ ﺍﷲ ﺑﺪﻳﻌﯽ‬

‫ﻣﺮﺩ ﻃﺮﺑﻨﺎﮎ‬ ‫ﻭﻟﯽ ﺍﷲ ﮐﺎﻭﻭﺳﯽ‬

‫ﺯﻳﻨﺖﻫﺎﻳﯽ ﮐــﻪ ﺩﺭ ﻣﺤﻀﺮ ﺻﺒﺎ ﺁﻣﻮﺧﺘﻪ ﺑﻮﺩ‪ ،‬ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺗﮑﻨﻴــﮏ ﻗﻮﯼ ﻭ ﻣﺴــﺘﺤﮑﻤﯽ ﮐــﻪ ﺑﻪ ﺧﺼــﻮﺹ ﺩﺭ‬ ‫ﺁﺭﺷﻪﮐﺸــﯽ‪ ،‬ﺑﺎ ﻣﻤﺎﺭﺳــﺖ ﺩﺭ ﻧﻮﺍﺧﺘﻦ ﺍﺗﻮﺩﻫﺎﯼ ﻭﻳﻠﻦ‬ ‫ﻓﺮﻧﮕﯽ ﺑﻪ ﺩﺳــﺖ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﮐﻨﺎﺭ ﺣﺎﻓﻈﻪ ﺳﺮﺷﺎﺭ ﻭ‬ ‫ﺫﻫﻦ ﺧــﻼﻕ ﻭ ﺑﺪﺍﻫﻪ ﭘــﺮﺩﺍﺯ‪ ،‬ﺍﺯ ﺍﻭ ﺗﮑﻨﻮﺍﺯﯼ ﺑﻪ ﺗﻤﺎﻡ‬ ‫ﻣﻌﻨﺎ ﺳﺎﺧﺖ‪ .‬ﻣﯽﺩﺍﻧﻴﻢ ﮐﻪ ﺍﻭ ﻓﺮﺯﻧﺪ ﺯﻣﺎﻧﻪ ﻭﻳﻠﻦ ﻧﻮﺍﺯﺍﻥ‬ ‫ِ‬ ‫ﭘﺮﻭﺭﺩﮔﺎﻥ ﺻﺒﺎ ﻭ ﭘﻴﺮﻭﺍﻥ ﺣﺴﻴﻦ ﻳﺎﺣﻘﯽ ﻭ‬ ‫ﺑﻮﺩ ﻭ ﺩﺳﺖ‬ ‫ﺭﺿﺎ ﻣﺤﺠﻮﺑﯽ ﻣﻮﺳﻴﻘﯽ ﺭﺍﺩﻳﻮ ﺭﺍ ﺩﺭ ﺳﻴﻄﺮﻩ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺩﺭ‬ ‫ﻧﺘﻴﺠﻪ ﺑﺪﻳﻌﯽ )ﺑﺮ ﺧﻼﻑ ﺑﺴﻴﺎﺭﯼ ﺍﺯ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﺍﻣﺮﻭﺯ(‬ ‫ﭼﺸﻢ ﺷﻬ ِﺮ ﮐﻮﺭﻫﺎ« ﻧﺒﻮﺩ ﻭ ﺑﺮﺍﯼ ﻋﺮﺽ ﺍﻧﺪﺍﻡ ﺩﺭ‬ ‫»ﻳﮏ ِ‬ ‫ﻣﻴﺎﻥ ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺭﺍﻫﯽ ﺩﺷــﻮﺍﺭ ﺭﺍ ﺑﺎﻳﺪ ﻣﯽﭘﻴﻤﻮﺩ‪ .‬ﺍﻭ‬ ‫ﺑﺴــﻴﺎﺭ ﺯﻭﺩ ﺑﻪ ﺳــﺒﮏ ﺷﺨﺼﯽ ﺧﻮﺩ ﺭﺳــﻴﺪ ﻭ ﻫﻤﻴﻦ‬ ‫ﺳــﺒﮏ ﺭﺍ ﺑﺎ ﮐﻤﺘﺮﻳﻦ ﺗﻐﻴﻴﺮ ﺗﺎ ﭘﺎﻳــﺎﻥ ﺣﻴﺎﺕ ﻫﻨﺮﯼﺍﺵ‬ ‫ﺣﻔﻆ ﮐﺮﺩ‪ .‬ﺩﻭ ﻭﻳﮋﮔﯽ ﻏﺎﻟﺐ ﺩﺭ ﺷﻴﻮﻩ ﻧﻮﺍﺯﻧﺪﮔﯽ ﺑﺪﻳﻌﯽ‪،‬‬ ‫ﺍﺳﺘﺤﮑﺎﻡ ﻭ ﻣﻼﺣﺖ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﺟﺮﺍﯼ ﺍﻭ ﺗﻤﺎﻣﯽﻧﺖﻫﺎ‬ ‫ﺭﺍ ﺣﺘﯽ ﺩﺭ ﺳﺮﻳﻊ ﺗﺮﻳﻦ ﺭﻳﺘﻢﻫﺎ ﻳﺎ ﭘﺎﺳﺎﮊﻫﺎ‪ ،‬ﺗﮏ ﺗﮏ ﺑﻪ‬ ‫ﺷﮑﻠﯽ ﺷﻤﺮﺩﻩ ﻭ ﺷﻔﺎﻑ ﻣﯽﺗﻮﺍﻥ ﺷﻨﻴﺪ‪ .‬ﺑﺪﻳﻦ ﻟﺤﺎﻅ‪ ،‬ﺍﻭ‬ ‫ﺭﺍ ﺑﺎﻳﺪ ﺩﺭ ﮐﻨﺎﺭ ﻫﻤﺎﻳﻮﻥ ﺧﺮﻡ ﺷﻤﺮﺩﻩ ﻧﻮﺍﺯﺗﺮﻳﻦ ﺗﮑﻨﻮﺍﺯ‬ ‫ﻭﻳﻠﻦ ﺑﻪ ﺷﻤﺎﺭ ﺁﻭﺭﺩ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﮐﻪ ﺩﺭ ﺳﺎﺯ ﻫﻨﺮﻣﻨﺪ‬ ‫ﺍﺧﻴﺮ ﺑﻪ ﺳــﺒﺐ ﺷــﺎﺧﺼﻪﻫﺎﯼ ﺳﺒﮏ ﺷــﺨﺼﯽ ﺍﺵ‪،‬‬ ‫ﭘﻴﭽﻴﺪﮔﯽ ﺟﻤــﻼﺕ ﻭ ﺍﺟﺮﺍﯼ ﻧﺖﻫﺎﯼ ﺯﻳﻨﺘﯽ ﺑﺴــﻴﺎﺭ‬ ‫ﮐﻤﺘﺮ ﺍﺯ ﺳــﺎﺯ ﺑﺪﻳﻌﯽ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ ﺷــﻤﺮﺩﮔﯽ ﺩﺭ ﻋﻴﻦ‬ ‫ﭘﻴﭽﻴﺪﮔﯽ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﺑﺮﺍﺑﺮ ﺳﺒﮏ ﭘﺮﺍﺭﺍﺋﻪ ﻭ ﺑﺎﺭﻭﮎ‬ ‫ﻭﺍﺭ ﺍﺳــﺪﺍﷲ ﻣﻠﮏ ﺑﻴﺸﺘﺮ ﺑﻪ ﭼﺸﻢ ﻣﯽﺁﻳﺪ؛ ﭼﺮﺍ ﮐﻪ ﺍﻳﻦ‬ ‫ﻫﻨﺮﻣﻨﺪ ﭘﺎﮐﻴﺰﮔﯽ ﺟﻤﻼﺕ ﺭﺍ ﺑﺎ ﺍﻓﺮﺍﻁ ﺩﺭ ﺍﺟﺮﺍﯼ ﺗﮑﻴﻪﻫﺎ‬ ‫ﻭ ﻣﺎﻟﺶﻫــﺎ‪ ،‬ﻓﺪﺍﯼ ﺷــﻴﺮﻳﻨﯽ ﻟﺤﻦ ﻭ ﻣﻠــﻮﺩﯼ ﻣﯽﮐﺮﺩ‪.‬‬ ‫ﭘﺨﺘﮕﯽ ﻭ ﭘﺮﻭﺭﺩﮔﯽ ﺩﺭ ﺗﻤﺎﻡ ﺟﻤﻼﺕ ﺑﺪﺍﻫﻪ ﻧﻮﺍﺯﯼﻫﺎﯼ‬ ‫ﺑﺪﻳﻌــﯽ ﺑــﻪ ﮔــﻮﺵ ﻣﯽﺭﺳــﺪ‪ .‬ﺍﻭ ﻫﻤﭽﻮﻥ ﺷــﺎﻋﺮ ﻳﺎ‬ ‫ﻧﻮﻳﺴــﻨﺪﻩﺍﯼ ﻣﺴــﻠﻂ ﺑﻪ ﺩﺳــﺘﻮﺭ ﺯﺑﺎﻥ‪ ،‬ﻣﻨﻈﻮﺭ ﺧﻮﺩ ﺭﺍ‬ ‫ﭼﻨﺎﻥ ﻣﻮﺟﺰ ﻭ ﻭﺍﺿﺢ ﺑﻴﺎﻥ ﻣﯽﮐﻨﺪ ﮐﻪ ﮔﻮﻳﯽ ﻭﻳﺮﺍﺳﺘﺎﺭﯼ‬ ‫ﻧﮑﺘﻪ ﺩﺍﻥ ﺣﺸــﻮ ﻭ ﺯﻭﺍﻳﺪ ﺭﺍ ﺍﺯ ﺁﻥ ﺯﺩﻭﺩﻩ ﺍﺳﺖ‪ .‬ﺗﻘﺎﺭﻥ‬ ‫ﻭ ﺗﻮﺍﺯﻥ ﺩﺭ ﺗﺮﮐﻴﺐ ﺟﻤﻼﺕ ﻣﻮﺳــﻴﻘﺎﻳﯽ ﺍﻭ ﭼﻮﻥ ﺑﻴﺘﯽ‬ ‫ﺷــﻴﻮﺍ ﻭ ﭘﺮﻣﺤﺘﻮﺍﺳــﺖ ﮐﻪ ﻣﻨﻈﻮﺭ ﮔﻮﻳﻨﺪﻩ ﺭﺍ ﺗﻤﺎﻣ ًﺎ ﺑﻪ‬ ‫ﻣﺨﺎﻃﺐ ﻣﯽﺭﺳﺎﻧﺪ ﻭ ﺍﻭ ﺭﺍ ﻣﻨﺘﻈﺮ ﻧﺎﮔﻔﺘﻪﺍﯼ ﻧﻤﯽﮔﺬﺍﺭﺩ‪.‬‬ ‫ﮐﺴــﺎﻧﯽ ﻧﻐﻤﻪﻫــﺎﯼ ﺍﻭ ﺭﺍ ﻣﺘﺄﺛﺮ ﺍﺯ ﺳــﺎﺯ ﭘﺮﻭﻳﺰ ﻳﺎﺣﻘﯽ‬

‫ﺩﺍﻧﺴﺘﻪ ﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﻧﻈﺮ ﻳﮑﺴﺮ ﺧﻄﺎﺳﺖ؛ ﭼﺮﺍ ﮐﻪ ﺑﺮ ﻫﺮ‬ ‫ﺷــﻨﻮﻧﺪﻩ ﻭﺭﺯﻳﺪﻩﺍﯼ ﻫﻮﻳﺪﺍﺳــﺖ ﮐﻪ ﻭﺟــﻪ ﻏﺎﻟﺐ ﺩﺭ‬ ‫ﻧﻮﺍﺯﻧﺪﮔﯽ ﻳﺎﺣﻘﯽ ﺷﻮﺭﻳﺪﮔﯽ ﺍﺳﺖ ﻭ ﻧﻐﻤﺎﺕ ﭘﻴﺶﺑﻴﻨﯽ‬ ‫ﻧﺎﭘﺬﻳﺮ ﺍﻭ ﺑﺮﺧﺎﺳــﺘﻪ ﺍﺯ ﺭﻭﺣﯽ ﻧــﺎﺁﺭﺍﻡ ﻭ ﺭﻭ ﺑﻪ ﻃﻐﻴﺎﻥ‬ ‫ﺍﺳــﺖ؛ ﺍﻣﺎ ﻧﻐﻤﻪﻫﺎﯼ ﺑﺪﻳﻌﯽ ﺍﺯ ﺩﺭﻭﻧﯽ ﺧﻮﻳﺸﺘﻨﺪﺍﺭ ﻭ‬ ‫ﺁﺭﺍﻡ ﺑﺮﻣﯽﺧﻴﺰﺩ ﮐﻪ ﻋﻨﺎﻥ ﺍﺣﺴﺎﺳــﺶ ﺭﺍ ﺑﺎ ﻣﺘﺎﻧﺖ ﻧﮕﺎﻩ‬ ‫ﻣــﯽﺩﺍﺭﺩ ﻭ ﻣﻨﻈﻮﺭﺵ ﺭﺍ ﺑﺎ ﻓﺼﺎﺣﺖ ﺑﻴــﺎﻥ ﻣﯽﮐﻨﺪ‪.‬ﺍﻣﺎ‬ ‫ﺁﻧﭽﻪ ﺑﻪ ﺑﺎﻭﺭ ﺑﻴﺸــﺘﺮ ﺻﺎﺣﺐ ﻧﻈﺮﺍﻥ ﺟﺎﻳﮕﺎﻩ ﺑﺪﻳﻌﯽ ﺭﺍ‬ ‫ﺍﺯ ﻫﻤﺘﺎﻳﺎﻧــﺶ ﻣﺘﻤﺎﻳﺰ ﻣﯽﮐﻨﺪ‪ ،‬ﺗﮑﻨﻴﮏ ﺷــﮕﻔﺖ ﺍﻧﮕﻴﺰ‬ ‫ﺁﺭﺷﻪﮐﺸــﯽ ﺍﻭﺳﺖ‪ .‬ﻣﻬﺎﺭﺕ ﺍﻭ ﺩﺭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﺭﺷﻪ‪ ،‬ﺍﻭ‬ ‫ﺭﺍ ﻳﮏ ﺳــﺮ ﻭ ﮔﺮﺩﻥ ﺑﺎﻻﺗﺮ ﺍﺯ ﻫﻤﻪ ﻭﻳﻠﻦﻧﻮﺍﺯﺍﻥ ﺍﻳﺮﺍﻥ ﻭ‬ ‫ﺩﺭ ﮐﻨﺎﺭ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﺑﺮﺗﺮ ﺟﻬﺎﻥ ﻣﯽﻧﺸﺎﻧﺪ‪ .‬ﺩﺭ ﭼﻨﺪ ﻓﻴﻠﻢ‬ ‫ﮐﻮﺗﺎﻩ ﮐﻪ ﺍﺯ ﻧﻮﺍﺯﻧﺪﮔﯽ ﺑﺪﻳﻌﯽ ﻣﻨﺘﺸــﺮ ﺷﺪﻩ‪ ،‬ﺑﺴﻴﺎﺭﯼ ﺍﺯ‬ ‫ﺷــﺎﺧﺼﻪﻫﺎﯼ ﻧﻮﺍﺯﻧﺪﮔﯽ ﺍﻭ ﺭﺍ ﻣﯽﺗــﻮﺍﻥ ﺩﻳﺪ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻢﻫﺎ ﻣﯽﺑﻴﻨﻴﻢ ﮐﻪ ﺍﺳــﺘﺎﺩ ﺑﺮﺍﯼ ﺍﺟــﺮﺍﯼ ﺣﺎﻟﺖﻫﺎﯼ‬ ‫ﻣﺨﺘﻠﻒ‪ ،‬ﺑﻪ ﺗﻨﺎﻭﺏ ﻧﻮﮎ‪ ،‬ﻣﻴﺎﻧﻪ‪ ،‬ﻭ ﺍﻧﺘﻬﺎﯼ ﺁﺭﺷــﻪ ﺭﺍ ﺑﻪ‬ ‫ﮐﺎﺭ ﻣﯽﮔﻴﺮﺩ‪ .‬ﺍﻳﻦﮐﻪ ﻣﯽﮔﻮﻳﻨﺪ ﺗﺸــﺨﻴﺺ ﺁﺭﺷﻪ ﭼﭗ ﻭ‬ ‫ﺭﺍﺳﺖ ﺑﺪﻳﻌﯽ ﻣﻤﮑﻦ ﻧﻴﺴﺖ‪ ،‬ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﺑﻪ ﺧﻮﺑﯽ‬ ‫ﻣﺸﻬﻮﺩ ﺍﺳــﺖ؛ ﭼﻨﺎﻥ ﮐﻪ ﮔﻮﻳﯽ ﺍﻭ ﺑﺎ ﺁﺭﺷﻪﺍﯼ ﻃﻮﻳﻞ ﻭ‬ ‫ﺳﺮﺗﺎﺳــﺮﯼ ﻣﯽﻧﻮﺍﺯﺩ ﮐﻪ ﻫﻴﭻ ﮔﺎﻩ ﺑﻪ ﺍﻧﺘﻬﺎ ﻧﻤﯽﺭﺳﺪ‪ .‬ﺩﺭ‬ ‫ﺣﺎﻟﯽ ﮐﻪ ﺳــﺎﻳﺮ ﻭﻳﻠﻦ ﻧﻮﺍﺯﺍﻥ ﻫﻢﻧﺴــﻞ ﺍﻭ ﺑﻪ ﻧﺪﺭﺕ ﺍﺯ‬ ‫ﻧﻴﻤﻪ ﭘﺎﻳﻴﻨﯽ ﺁﺭﺷﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽﮐﻨﻨﺪ‪ ،‬ﺯﻳﺮﺍ ﻣﻬﺎﺭ ﮐﺮﺩﻥ ﺍﻳﻦ‬ ‫ﺑﺨﺶ ﺍﺯ ﺁﺭﺷــﻪ ﺑﻪ ﺳﺒﺐ ﺳﻨﮕﻴﻦ ﺷﺪﻥ ﻧﻴﻤﻪ ﺑﺎﻻﻳﯽ ﺁﻥ‬ ‫ﺩﺷــﻮﺍﺭﺗﺮ ﺍﺳــﺖ‪ .‬ﺁﺭﺷــﻪﭘﺮﺍﻧﯽ ﺍﺯ ﺩﻳﮕﺮ ﺷﺎﺧﺼﻪﻫﺎﯼ‬ ‫ﺍﺻﻠﯽ ﺳــﺒﮏ ﺑﺪﻳﻌﯽ ﺍﺳــﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﺁﺭﺷﻪ ﭘﺮﺍﻧﯽ ﻭ‬ ‫ﺍﺟﺮﺍﯼ ﺑﺮﺧﯽ ﻗﻄﻌﺎﺕ ﺗﻨﺪ ﺭﻭﯼ ﺩﻭ ﺳﻴﻢ ﻣﺠﺎﻭﺭ ﻭﻳﻠﻦ‬ ‫ﮐﻪ ﺭﻭﯼ ﻳﮑﯽ ﺍﺯ ﺁﻧﻬﺎ ﺍﻧﮕﺸــﺖﮔﺬﺍﺭﯼ ﻣﯽﺷﻮﺩ ﻭ ﺳﻴﻢ‬ ‫ﺩﻳﮕﺮ ﻧﻘﺶ ﻭﺍﺧﻮﺍﻥ ﻳــﺎ ﻫﻤﺮﺍﻫﯽﮐﻨﻨﺪﻩ ﺩﺍﺭﺩ‪ ،‬ﺗﮑﻨﻴﮑﯽ‬ ‫ﺍﺳﺖ ﮐﻪ ﺍﺳﺘﺎﺩ ﺻﺒﺎ ﺍﺯ ﻓﻨﻮﻥ ﺳﻪ ﺗﺎﺭﻧﻮﺍﺯﯼ ﺍﻗﺘﺒﺎﺱ ﮐﺮﺩ‬ ‫ﻭ ﺩﺭ ﻻﺑــﻪﻻﯼ ﺭﺩﻳﻒﻫﺎﯼ ﺩﻭﮔﺎﻧﻪ ﻭ ﻣﺠﻤﻮﻋﻪ ﻗﻄﻌﺎﺕ‬ ‫ﺿﺮﺑﯽﺍﺵ ﺑﺮﺍﯼ ﻭﻳﻠﻦ ﻧﻤﻮﻧﻪﻫﺎﻳﯽ ﺍﺯ ﺁﻥ ﺭﺍ ﺑﻪ ﺧﻂ ﻧﺖ‬ ‫ﺩﺭﺁﻭﺭﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺗﮑﻨﻴﮏ ﺩﺭ ﺩﺳﺘﺎﻥ ﺑﺪﻳﻌﯽ ﺑﻪ ﺍﻭﺝ ﺭﺳﻴﺪ‬ ‫ﻭ ﺑﻴﺸــﺘﺮﻳﻦ ﻭ ﻣﺘﻨﻮﻉﺗﺮﻳﻦ ﻭ ﺩﺷﻮﺍﺭﺗﺮﻳﻦ ﻧﻤﻮﻧﻪﻫﺎ ﺭﺍ ﺍﻭ‬ ‫ﻧﻮﺍﺧــﺖ‪ .‬ﭘﺲ ﺍﺯ ﺍﻭ ﻫﻢ ﻫﻴﭻﮐﺲ ﺑــﻪ ﺣﺪ ﺍﻭ ﺍﺯ ﻋﻬﺪﻩ‬ ‫ﺍﺟــﺮﺍﯼ ﺍﻳﻦ ﻓــﻦ ﺑﺮﻧﻴﺎﻣﺪ‪ .‬ﻭﻳﮋﮔﯽ ﺩﻳﮕﺮ ﺳــﺎﺯ ﺑﺪﻳﻌﯽ‬

‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺗﻤﺎﻡ ﻇﺮﻓﻴﺖﻫﺎﯼ ﺯﻳﺮ ﻭ ﺑﻢ ﺳﻴﻢﻫﺎﯼ ﻭﻳﻠﻦ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﻧﻐﻤﻪﻫﺎﯼ ﺧﻮﺩ ﺭﺍ ﭼﻨﺎﻥ ﺗﻨﻈﻴﻢ ﻣﯽﮐﺮﺩ ﮐﻪ ﻫﺮ‬ ‫ﭼﻬﺎﺭ ﺳــﻴﻢ ﻭﻳﻠﻦ ﺑﻪ ﺻﺪﺍ ﺩﺭ ﺁﻳﻨﺪ ﻭ ﭼﻪ ﺩﺭ ﺁﻭﺍﺯ ﻭ ﭼﻪ‬ ‫ﺩﺭ ﻗﻄﻌــﺎﺕ ﺿﺮﺑــﯽ ﻫﻴﭻ ﮔﺎﻩ ﺭﻭﯼ ﻳﮏ ﺳــﻴﻢ ﭼﻨﺪﺍﻥ‬ ‫ﺗﻮﻗﻒ ﻧﻤﯽﮐﺮﺩ ﮐﻪ ﻣﻮﺟﺐ ﮐﺴــﺎﻟﺖ ﺷــﻨﻮﻧﺪﻩ ﺷــﻮﺩ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﺑﺮ ﺣﺴﺐ ﺿﺮﻭﺭﺕ ﺍﺯ ﭘﻮﺯﻳﺴﻴﻮﻥﻫﺎﯼ ﭘﺎﻳﻴﻦ‬ ‫ﺩﺳﺘﻪ ﻭﻳﻠﻦ ﺑﻬﺮﻩ ﻣﯽﺑﺮﺩ‪ .‬ﮔﻔﺘﻨﯽ ﺍﻳﻦ ﮐﻪ ﺍﻧﮕﺸﺖ ﮔﺬﺍﺭﯼ‬ ‫ﺩﺭ ﺍﻳﻦ ﭘﻮﺯﻳﺴــﻴﻮﻥﻫﺎ ﺩﺭ ﻣﻮﺳــﻴﻘﯽ ﺍﻳﺮﺍﻧﯽ‪ ،‬ﺑﻪ ﺳــﺒﺐ‬ ‫ﺩﺍﺷــﺘﻦ ﻓﻮﺍﺻﻞ ﺭﺑﻊ ﭘﺮﺩﻩ‪ ،‬ﺑﺴــﻴﺎﺭ ﺩﺷــﻮﺍﺭ ﺍﺳــﺖ ﻭ‬ ‫ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﻭﻳﻠﻦ ﺍﻳﺮﺍﻧﯽ ﻣﻌﻤﻮ ًﻻ ﻗﻄﻌﺎﺕ ﺧﻮﺩ ﺭﺍ ﭼﻨﺎﻥ‬ ‫ﺗﻨﻈﻴﻢ ﻣﯽﮐﻨﻨﺪ ﮐﻪ ﺿﺮﻭﺭﺕ ﺗﻐﻴﻴﺮ ﭘﻮﺯﻳﺴــﻴﻮﻥ ﺩﺳــﺖ‬ ‫ﭼﭗ ﺑﻪ ﮐﻤﺘﺮﻳﻦ ﺣﺪ ﻣﻤﮑﻦ ﺑﺮﺳﺪ‪.‬ﺍﻭ ﺑﻴﺸﺘﺮ ﻗﻄﻌﺎﺗﺶ ﺭﺍ‬ ‫ﺑــﺎ ﭼﻨــﺪ ﮐﻮﮎ ﺛﺎﺑــﺖ ﻣﯽﻧﻮﺍﺧــﺖ ﻭ ﭼﻨــﺪﺍﻥ ﺩﺭ ﭘﯽ‬ ‫ﮐﻮﮎﻫــﺎﯼ ﺍﺑﺪﺍﻋﯽ ﻧﺒــﻮﺩ‪ .‬ﻣﻌﻤﻮ ًﻻ ﻳﮏ ﺳــﻴﻢ ﺭﺍ ﺑﺮﺍﯼ‬ ‫ﺍﺟﺮﺍﯼ ﻭﺍﺧﻮﺍﻥ‪ ،‬ﺑﺎ ﺗﻮﻧﻴﮏ )ﻧﺖ ﺁﻏﺎﺯﻳﻦ( ﺩﺳﺘﮕﺎﻫﯽ ﮐﻪ‬ ‫ﻣﯽﻧﻮﺍﺧــﺖ‪ ،‬ﻫﻢ ﮐﻮﮎ ﻣﯽﮐﺮﺩ؛ ﻫﺮ ﭼﻨﺪ ﻫﻨﮕﺎﻡ ﮔﺮﺩﺵ‬ ‫ﺩﺭ ﮔﻮﺷــﻪﻫﺎﯼ ﻳﮏ ﺩﺳــﺘﮕﺎﻩ‪ ،‬ﺩﺭ ﺻــﻮﺭﺕ ﺍﻣﮑﺎﻥ ﺍﺯ‬ ‫ﺳﻴﻢﻫﺎﯼ ﺩﻳﮕﺮ ﻫﻢ ﺻﺪﺍﯼ ﻭﺍﺧﻮﺍﻥ ﻣﯽﮔﺮﻓﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ‬ ‫ﺑﺮﺍﯼ ﺻﺪﺍﮔﻴﺮﯼ ﺑﻬﺘﺮ ﻭ ﺳــﻬﻮﻟﺖ ﻫﻤﻨــﻮﺍﺯﯼ ﺑﺎ ﺗﺎﺭ ﻳﺎ‬ ‫ﺳﻨﺘﻮﺭ‪ ،‬ﺳﻴﻢﻫﺎﯼ ﺳﺎﺯﺵ ﺭﺍ ﻳﮏ ﺗﺎ ﺩﻭ ﭘﺮﺩﻩ ﭘﺎﻳﻴﻦﺗﺮ ﺍﺯ‬ ‫ﺩﻳﺎﭘﺎﺯﻭﻥ ﮐﻮﮎ ﻣﯽﮐﺮﺩ‪.‬ﺍﮔــﺮ ﺩﺭ ﺯﻣﻴﻨﻪ ﺗﮑﻨﻮﺍﺯﯼ ﺭﻗﻴﺒﯽ‬ ‫ﺑﺘﻮﺍﻥ ﺑﺮﺍﯼ ﺑﺪﻳﻌﯽ ﺗﺼﻮﺭ ﮐﺮﺩ‪ ،‬ﺩﺭ ﻋﺮﺻﻪ ﺟﻮﺍﺏ ﺁﻭﺍﺯ‪،‬‬ ‫ﺑﯽﮔﻤﺎﻥ ﺍﻭ ﺑﯽﻫﻤﺘﺎﺳــﺖ‪ .‬ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﻣﯽﺩﺍﻧﻨﺪ ﮐﻪ ﻳﮑﯽ‬ ‫ﺍﺯ ﺩﺷــﻮﺍﺭﺗﺮﻳﻦ ﻣﺮﺍﺣﻞ ﻧﻮﺍﺯﻧﺪﮔﯽ‪ ،‬ﻣﻬﺎﺭﺕ ﺩﺭ ﺟﻮﺍﺏ‬ ‫ﺁﻭﺍﺯ ﺍﺳــﺖ ﻭ ﮐﺴــﺎﻧﯽ ﮐﻪ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺑﻪ ﺍﻭﺝ ﺭﺳﻴﺪﻩ‬ ‫ﺍﻧﺪ‪ ،‬ﺍﻧﮕﺸــﺖ ﺷــﻤﺎﺭﻧﺪ‪ .‬ﺗﺒﺤﺮ ﻳﺎﻓﺘﻦ ﺩﺭ ﺟﻮﺍﺏ ﺁﻭﺍﺯ‪،‬‬ ‫ﻋــﻼﻭﻩ ﺑﺮ ﺑﻬﺮﻩﮔﻴﺮﯼ ﺷــﻔﺎﻫﯽ ﺍﺯ ﺍﺳــﺘﺎﺩﺍﻥ ﺍﻳﻦ ﻓﻦ ﻭ‬ ‫ﺷﻨﻴﺪﻥ ﺟﻮﺍﺏ ﺁﻭﺍﺯﻫﺎﯼ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﺳﺎﺯﻫﺎﯼ ﻣﺨﺘﻠﻒ‪،‬‬ ‫ﻧﻴﺎﺯﻣﻨــﺪ ﺫﻭﻕ ﺍﺩﺑﯽ ﻭ ﺷــﻨﺎﺧﺖ ﻋﻤﻴﻖ ﺷــﻌﺮ ﺍﺳــﺖ‪.‬‬ ‫ﺩﺷــﻮﺍﺭﯼ ﮐﺎﺭ ﻧﻮﺍﺯﻧﺪﻩ ﺩﺭ ﻫﻤﻴﻦ ﺍﺳــﺖ ﮐﻪ ﺑﺎﻳﺪ ﺑﺪﻭﻥ‬ ‫ﺍﻳﺠــﺎﺩ ﻣﻼﻝ‪ ،‬ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺧﻼﻗﺎﻧــﻪ ﻫﻤﺮﺍﻫﯽ ﮐﻨﺪ‪ .‬ﺍﻳﻦ‬ ‫ﺩﺷــﻮﺍﺭﯼ ﺷﺎﻳﺪ ﺩﺭ ﺳﺎﺯﻫﺎﯼ ﺗﺎﺭ ﻭ ﺳﻪ ﺗﺎﺭ ﮐﻪ ﺭﺩﻳﻒﻫﺎ‬ ‫ﺭﺍ ﺑﺮ ﺍﺳﺎﺱ ﻗﺎﺑﻠﻴﺖﻫﺎﯼ ﺁﻧﻬﺎ ﻧﻮﺷﺘﻪ ﺍﻧﺪ‪ ،‬ﭼﻨﺪﺍﻥ ﻣﺸﻬﻮﺩ‬ ‫ﻧﺒﺎﺷــﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺳﺎﺯ ﭼﻤﻮﺷــﯽ ﭼﻮﻥ ﻭﻳﻠﻦ ﮐﻪ ﺧﻄﺎﯼ‬ ‫ﻣﻴﻠﯽ ﻣﺘﺮﯼ ﺍﻧﮕﺸﺖ ﺩﺭ ﮔﺮﻓﺘﻦ ﭘﺮﺩﻩ ﺩﺭﺳﺖ‪ ،‬ﺑﻪ ﺧﺎﺭﺝ‬ ‫ﻧﻮﺍﺧﺘﻦ ﻭ ﺑﻪ ﺍﺻﻄﻼﺡ ﻓﺎﻟﺶ ﺷــﺪﻥ ﻣﯽﺍﻧﺠﺎﻣﺪ‪ ،‬ﺩﺍﺩﻥ‬ ‫ﺟﻮﺍﺏ ﺁﻭﺍﺯ ﺩﺭﺳﺖ ﻭ ﺧﻼﻕ‪ ،‬ﺑﻪ ﺭﺍﻩ ﺭﻓﺘﻦ ﺭﻭﯼ ﻃﻨﺎﺑﯽ‬ ‫ﺑﺎﺭﻳــﮏ ﻣﯽﻣﺎﻧَﺪ‪ .‬ﺑــﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﻣﯽﮔﻮﻳﻨﺪ ﺍﺳــﺘﺎﺩ ﺻﺒﺎ‬ ‫ﻋﻘﻴﺪﻩ ﺩﺍﺷــﺖ ﻭﻳﻠــﻦ ﺑﺮﺍﯼ ﺍﺟــﺮﺍﯼ ﺗﺤﺮﻳﺮﻫﺎﯼ ﺁﻭﺍﺯ‬ ‫ﮐﺎﺭﺁﻣﺪﺗﺮﻳﻦ ﺳــﺎﺯ ﺍﺳﺖ‪ .‬ﺩﺭﺳــﺘﯽ ﺍﻳﻦ ﻧﻈﺮ ﺻﺒﺎ ﺭﺍ ﺑﻪ‬ ‫ﺑﻬﺘﺮﻳــﻦ ﻧﺤﻮ ﺩﺭ ﺳــﺎﺯ ﺑﺪﻳﻌــﯽ ﻣﯽﺗﻮﺍﻥ ﺷــﻨﻴﺪ‪ .‬ﺍﻭ ﺑﺎ‬ ‫ﺟﻮﺍﺏﻫﺎﯼ ﭘﺨﺘﻪ ﻭ ﭘﺮﻭﺭﺩﻩﺍﯼ ﮐﻪ ﺑﺎ ﺳــﺎﺯ ﺳﺮﮐﺸﺶ ﺑﻪ‬ ‫ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺳﺮﺷﻨﺎﺳﯽ ﭼﻮﻥ ﺑﻨﺎﻥ ﻭ ﻗﻮﺍﻣﯽﻭ ﺷﻬﻴﺪﯼ ﻭ‬ ‫ﻣﺤﻤﻮﺩﯼ ﺧﻮﺍﻧﺴﺎﺭﯼ ﻭ ﺷﺠﺮﻳﺎﻥ ﺩﺍﺩﻩ‪ ،‬ﻧﺎﻡ ﺧﻮﺩ ﺭﺍ ﺩﺭ‬ ‫ﮐﻨﺎﺭ ﺟﻠﻴﻞ ﺷــﻬﻨﺎﺯ ﻭ ﺣﺴﻦ ﮐﺴــﺎﻳﯽ ﺩﺭ ﻣﻘﺎﻡ ﺑﻬﺘﺮﻳﻦ‬ ‫ﺟــﻮﺍﺏ ﺁﻭﺍﺯ ﺩﻫﻨﺪﮔﺎﻥ ﻳﮑﺼﺪ ﺳــﺎﻝ ﺍﺧﻴﺮ ﺍﻳﺮﺍﻥ ﺛﺒﺖ‬ ‫ﮐﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﺷﺎﻳﺪ ﮐﻤﺘﺮ ﮐﺴــﯽ ﺑﺪﺍﻧﺪ ﮐﻪ ﺑﺪﻳﻌﯽ ﺧﻮﺩ‬ ‫ﺻﺪﺍﻳﯽ ﮔﺮﻡ ﻭ ﮔﻴﺮﺍ ﻭ ﺍﺯ ﺁﻥ ﻣﻬﻢﺗﺮ ﺩﻗﻴﻖ ﻭ ﺑﻪ ﺍﺻﻄﻼﺡ‬ ‫ﮊﻭﺳــﺖ ﺩﺍﺷﺖ‪ .‬ﻧﻤﻮﻧﻪﺍﯼ ﺍﺯ ﺁﻭﺍﺯ ﺍﻭ ﺩﺭ ﺑﺮﻧﺎﻣﻪ ﮔﻠﭽﻴﻦ‬ ‫ﻫﻔﺘﻪ ﺷــﻤﺎﺭﻩ ‪ ۵‬ﻣﻮﺟﻮﺩ ﺍﺳــﺖ ﮐــﻪ ﺩﺭ ﺁﻥ ﺗﺼﻨﻴﻔﯽ ﺍﺯ‬ ‫ﺳــﺎﺧﺘﻪﻫﺎﯼ ﺧﻮﺩﺵ ﺭﺍ ﺩﺭ ﺩﺳــﺘﮕﺎﻩ ﺳﻪﮔﺎﻩ ﺑﻪ ﻃﺮﺯﯼ‬ ‫ﺩﻟﻨﺸﻴﻦ ﺍﺟﺮﺍ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺁﻭﺍﺯﻫﺎﯼ ﻧﻮﺍﺧﺘﻪ‬ ‫ﺍﻭ ﭼﻨﺎﻥ ﺑﯽﻧﻘﺺ ﺍﺳــﺖ ﮐﻪ ﮔﻮﻳﯽ ﺧﻮﺍﻧﻨــﺪﻩﺍﯼ ﺗﻮﺍﻧﺎ‬ ‫ﮐﻠﻤﺎﺕ ﺑﻴﺘﯽ ﻧﻐﺰ ﺭﺍ ﺑﻪ ﺻﻮﺭﺗﯽ ﺷﻤﺮﺩﻩ ﻭ ﺑﺎ ﺗﺤﺮﻳﺮﻫﺎﻳﯽ‬ ‫ﺑﺠﺎ ﺍﺩﺍ ﻣﯽﮐﻨﺪ ﻭ ﺍﻳﻦ ﺧﻮﺩ ﻧﺸﺎﻥ ﺍﺯ ﺁﺷﻨﺎﻳﯽ ﻋﻤﻴﻖ ﺍﻭ ﺑﺎ‬ ‫ﻇﺮﺍﻳﻒ ﺷﻌﺮ ﻭ ﺯﻳﺮ ﻭ ﺑﻢ ﺁﻭﺍﺯ ﺩﺍﺭﺩ‪ .‬ﺍﺳﺘﺎﺩ ﺷﺠﺮﻳﺎﻥ ﻫﻢ‬ ‫ﺩﺭ ﺟﺎﻳﯽ ﺑﻴﺎﻥ ﮐﺮﺩﻩ ﮐﻪ ﺑﺮﺧﯽ ﺗﮑﻨﻴﮏﻫﺎﯼ ﺁﻭﺍﺯﺵ ﺭﺍ ﺑﺎ‬ ‫ﺗﺎﺛﻴﺮ ﺍﺯ ﺳــﺎﺯ ﺑﺪﻳﻌﯽ ﭘﺮﻭﺭﺍﻧﺪﻩ ﺍﺳﺖ‪.‬ﻧﮑﺘﻪ ﺁﺧﺮ ﺍﻳﻦ ﮐﻪ‬ ‫ﺩﺭﺑــﺎﺭﻩ ﺑﺮﺧﯽ ﻫﻢ ﻧﺴــﻼﻥ ﺑﺪﻳﻌﯽ )ﻣﺜ ً‬ ‫ﻼ ﺍﺳــﺘﺎﺩ ﺟﻮﺍﺩ‬ ‫ﻣﻌﺮﻭﻓــﯽ( ﮔﻔﺘــﻪ ﻣﯽﺷــﻮﺩ ﮐــﻪ ﺍﺳــﺘﺎﺩﯼ ﺁﻧﻬــﺎ ﺩﺭ‬ ‫ﭘﻴﺸﮑﺴﻮﺗﯽﺷــﺎﻥ ﺍﺳﺖ ﻭ ﺍﮐﻨﻮﻥ ﺷﺎﮔﺮﺩﺍﻥ ﺁﻧﻬﺎ ﻭ ﺣﺘﯽ‬ ‫ﺟﻮﺍﻧﺎﻧﯽ ﮐﻪ ﺁﻧﺎﻥ ﺭﺍ ﻫﺮﮔﺰ ﻧﺪﻳﺪﻩﺍﻧﺪ‪ ،‬ﺳﺎﺧﺘﻪﻫﺎﻳﺸﺎﻥ ﺭﺍ‬ ‫ﺑﺴﻴﺎﺭ ﺑﻬﺘﺮ ﺍﺯ ﺧﻮﺩﺷﺎﻥ ﻣﯽﻧﻮﺍﺯﻧﺪ؛ ﺍﻣﺎ ﺍﻳﻦ ﮔﻔﺘﻪ ﺑﻪ ﻫﻴﭻ‬ ‫ﺭﻭﯼ ﺩﺭﺑــﺎﺭﻩ ﺑﺪﻳﻌﯽ ﺻﺎﺩﻕ ﻧﻴﺴــﺖ ﭼﺮﺍ ﮐــﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﺳــﺎﻝﻫﺎ ﻫﻴﭻﮐﺲ ﺣﺘﯽ ﺍﺯ ﻓﺎﺻﻠﻪ ﺻﺪ ﻓﺮﺳــﺨﯽ ﺑﻪ ﺍﻭ‬ ‫ﻧﺰﺩﻳﮏ ﻧﺸــﺪﻩ ﻭ ﺍﻭ ﺩﺭ ﻭﻳﻠﻦﻧــﻮﺍﺯﯼ ﺍﻳﺮﺍﻧﯽ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺑﯽﺭﻗﻴﺐ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺪﻳﻌﯽ ﺭﺍ ﺑﺎﻳﺪ ﮐﺎﻣﻞﮐﻨﻨﺪﻩ ﺍﺻﻠﯽ‬ ‫ﻣﮑﺘﺐ ﻭﻳﻠﻦ ﻧﻮﺍﺯﯼ ﺻﺒﺎ ﺩﺍﻧﺴــﺖ ﮐﻪ ﺁﻣﻮﺯﻩﻫﺎﯼ ﺍﺳﺘﺎﺩ‬ ‫ﺭﺍ ﻓﺮﺍﮔﺮﻓﺖ ﻭ ﺑﺴﻴﺎﺭ ﻓﺮﺍﺗﺮ ﺑﺮﺩ‪ .‬ﺑﯽﮔﻤﺎﻥ ﺍﻭ ﺟﺎﻣﻊﺗﺮﻳﻦ‬ ‫ﻭﻳﻠﻦﻧــﻮﺍﺯ ﺍﻳﺮﺍﻥ ﺗﺎﮐﻨﻮﻥ ﺍﺳــﺖ ﮐﻪ ﺑﺎ ﺗﮑﻴــﻪ ﺑﺮ ﺫﻭﻗﯽ‬ ‫ﺳﺮﺷــﺎﺭ ﻭ ﺗﮑﻨﻴﮑﯽ ﺍﺳــﺘﻮﺍﺭ‪ ،‬ﻧﻮﺍﯼ ﻧﺎﺏ ﺳﺎﺯﺵ ﺭﺍ ﮐﻪ‬ ‫ﺑﺮﺧﺎﺳــﺘﻪ ﺍﺯ ﺍﺣﺴﺎﺳــﺎﺕ ﻧﺎﺑﺶ ﺑﻮﺩ‪ ،‬ﺑــﺮﺍﯼ ﺁﻳﻨﺪﮔﺎﻥ‬ ‫ﺟﺎﻭﺩﺍﻧﻪ ﮐﺮﺩ‪ .‬ﺍﮐﻨﻮﻥ‪ ،‬ﺑﻴﺴﺖ ﺳﺎﻝ ﭘﺲ ﺍﺯ ﺧﺎﻣﻮﺷﯽ ﺍﻭ‪،‬‬ ‫ﺩﺭ ﺑﺴــﻴﺎﺭﯼ ﺍﺯ ﺳﺎﻳﺖﻫﺎﻳﯽ ﮐﻪ ﮔﺮﺩﺍﻧﻨﺪﮔﺎﻧﺶ ﺟﻮﺍﻧﺎﻧﯽ‬ ‫ﺣﺘﯽ ﮐﻤﺘﺮ ﺍﺯ ﺑﻴﺴــﺖ ﺳﺎﻟﻪﺍﻧﺪ‪ ،‬ﺑﺴــﻴﺎﺭﯼ ﺍﺯ ﺁﺛﺎﺭ ﺍﻭ ﺩﺭ‬ ‫ﺩﺳﺘﺮﺱ ﻋﻤﻮﻡ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﻪ ﮔﻤﺎﻧﻢ ﺍﻭ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﻧﺴــﻞ ﺍﻣــﺮﻭﺯ ﻭ ﻓــﺮﺩﺍﯼ ﺍﻳــﺮﺍﻥ ﺗﻮﻟــﺪﯼ ﺩﻭﺑــﺎﺭﻩ‬ ‫ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ‪.‬‬

‫ﺻﺪﺍﯼ ﻧﻬﻔﺘﻪ ﺩﺭ ﮐﺎﻟﺒﺪ ﻣﻮﺳﻴﻘﯽ‬ ‫ﺭﺿﺎ ﻣﻬﺪﻭﯼ‬

‫ﻣﻮﺳــﻴﻘﯽ ﭘﺎﭖ ﻳﮑﯽ ﺍﺯ ﺟﺬﺍﺏﺗﺮﻳﻦ ﮊﺍﻧﺮﻫﺎ ﺩﺭ ﻫﻨﺮﻫﺎﯼ ﺷﻨﻴﺪﺍﺭﯼ ﺍﺳﺖ ﮐﻪ ﻃﯽ‬ ‫ﻳﮏ ﻗﺮﻥ ﮔﺬﺷــﺘﻪ ﺑﺴﻴﺎﺭﯼ ﺍﺯ ﮔﻮﺵﻫﺎﯼ ﺧﺴــﺘﻪ ﻳﺎ ﮔﻮﺵﻫﺎﯼ ﻧﺎﺁﺷﻨﺎ ﺑﻪ ﻣﻮﺳﻴﻘﯽ ﺭﺍ‬ ‫ﻣﻌﻄﻮﻑ ﺑﻪ ﺧﻮﺩ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺤﺚ ﺍﻳﻦ ﻧﻴﺴﺖ ﮐﻪ ﺍﺻﻞ ﻣﻮﺳﻴﻘﯽ ﭘﺎﭖ ﻣﺘﻌﻠﻖ ﺑﻪ ﭼﻪ‬ ‫ﻣﻨﻄﻘﻪ ﺟﻐﺮﺍﻓﻴﺎﻳﯽ ﺍﺯ ﺟﻬﺎﻥ ﺍﺳــﺖ ﺑﻠﮑﻪ ﺑﺤﺚ ﺑﺮ ﺳﺮ ﺭﺳﻮﺥ ﺍﻳﻦ ﻣﻮﺳﻴﻘﯽ ﺍﺳﺖ ﮐﻪ‬ ‫ﻣﺮﺯﻫﺎ ﺭﺍ ﺷﮑﺴﺘﻪ ﻭ ﺑﻪ ﻓﺮﺍﺧﻮﺭ ﻫﺮ ﻣﻨﻄﻘﻪ ﻭ ﻫﺮ ﻗﻮﻡ ﻭ ﻫﺮ ﻣﻠﻴﺘﯽ ﭼﻨﺎﻥ ﺍﺛﺮ ﮔﺬﺍﺭﺩﻩ ﮐﻪ‬ ‫ﺍﻣﺮﻭﺯﻩ ﻫﺮ ﻣﻨﻄﻘﻪﺍﯼ ﮐﻼ ﻭ ﺟﺰﺍ ﺑﺮﺍﯼ ﺧﻮﺩ ﻣﻮﺳﻴﻘﯽ ﭘﺎﭖ ﺩﺍﺭﺩ‪.‬ﻣﻬﻢ ﻧﻴﺴﺖ ﮐﻪ ﺍﻳﻦ ﻧﻮﻉ‬ ‫ﻣﻮﺳﻴﻘﯽ ﻣﺼﺮﻑ ﺭﻭﺯﺍﻧﻪ ﺩﺍﺭﺩ ﻳﺎ ﺑﻪ ﻋﺒﺎﺭﺗﯽ ﻋﺎﻣﻪﭘﺴﻨﺪ ﻭ ﻣﺘﻌﻠﻖ ﺑﻪ ﻣﺮﺩﻡ ﮐﻮﭼﻪ ﻭ ﺑﺎﺯﺍﺭ‬ ‫ﺍﺳــﺖ ﺑﻠﮑﻪ ﺗﺎﺛﻴﺮﮔﺬﺍﺭﯼﺍﯼ ﮐﻪ ﻣﻮﺳﻴﻘﯽ ﭘﺎﭖ ﺑﺮ ﻃﺒﻘﻪﻫﺎﯼ ﻣﺨﺘﻠﻒ ﺟﻮﺍﻣﻊ ﺍﺯ ﺣﻴﺚ‬ ‫ﻣﻮﻗﻌﻴﺖﻫﺎﯼ ﺍﺟﺘﻤﺎﻋﯽ ﮔﺬﺍﺭﺩﻩ‪ ،‬ﺁﻥ ﺭﺍ ﺩﺍﺭﺍﯼ ﮐﺎﺭﮐﺮﺩﯼ ﮐﺎﻣﻼ ﻣﺘﻔﺎﻭﺕ ﮐﺮﺩﻩ ﺍﺳﺖ ﮐﻪ‬ ‫ﺑﻬﺮﻩﻭﺭﯼﻫﺎﯼ ﮔﻮﻧﺎﮔﻮﻧﯽ ﺭﺍ ﺑﺮﺍﯼ ﻣﺼﺎﺭﻑ ﺭﻭﺯﺍﻧﻪ ﺟﻮﺍﻣﻊ)ﺩﺭ ﺍﺑﻌﺎﺩ ﺍﻗﺘﺼﺎﺩﯼ‪ ،‬ﻓﺮﻫﻨﮕﯽ‪،‬‬ ‫ﺁﻣﻮﺯﺷﯽ‪ ،‬ﺳﻴﺎﺳﯽ ﻭ‪ (...‬ﻣﻬﻴﺎ ﻭ ﻣﺘﺮﺗّﺐ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻫﺮﭼﻨﺪ ﮐﻪ ﺁﺛﺎﺭﻣﻮﺳﻴﻘﯽ ﭘﺎﭖ ﻓﺨﻴﻢ‬ ‫ﻭ ﻣﺎﻧﺪﮔﺎﺭ ﺩﺭ ﺟﻬﺎﻥ ﻭ ﺍﻳﺮﺍﻥ ﮐﻢ ﻧﺪﺍﺭﻳﻢ ﻭ ﺍﻳﻦ ﻓﺮﺍﻭﺍﻧﯽ ﻧﻤﻮﻧﻪﻫﺎﯼ ﺩﺍﺧﻠﯽ ﻭ ﺧﺎﺭﺟﯽ‬ ‫ﺧﻂ ﺑﻄﻼﻧﯽ ﻣﯽﮐﺸﺪ ﺑﺮ ﻧﮕﺎﻩ ﻧﺎﺩﺭﺳﺘﯽ ﮐﻪ ﭘﺎﭖ ﺭﺍ ﺻﺮﻓﺎ ﺭﻭﺯﺍﻧﻪ‪ ،‬ﻣﺼﺮﻓﯽ‪ ،‬ﺑﺪﻭﻥ ﺗﻔﮑﺮ‬ ‫ﻣﯽﺩﺍﻧﺪ! ﻏﻔﻠﺖ ﺍﺯ ﭼﻨﻴﻦ ﺍﻣﺮﯼ ﺷﺎﻳﺪ ﺑﺎﻋﺚ ﺍﻓﻮﻝ ﻣﻮﺳﻴﻘﯽﻫﺎﯼ ﺑﻨﻴﺎﺩﻳﻨﯽ ﺑﺎﺷﺪ ﮐﻪ ﺍﺗﻔﺎﻗﺎ‬ ‫ﻋﺮﺽ ﺍﻧﺪﺍﻡﻫﺎﯼ ﻭﺳﻴﻊﺗﺮﯼ ﺑﺘﻮﺍﻧﻨﺪ ﺑﭙﺮﺩﺍﺯﻧﺪ‪ .‬ﺑﺮ‬ ‫ﺑﺎ ﻭﺟﻮﺩ ﺁﺛﺎﺭ ﭘﺎﭘﻴﻮﻻ ِﺭ ﺣﻮﺯﻩ ﭘﺎﭖ ﺑﻪ ِ‬ ‫ﺧﻼﻑ ﻧﻈﺮ ﻋﺪﻩﺍﯼ ﺍﺯ ﮐﺎﺭﺷﻨﺎﺳﺎﻥ ﮐﻪ ﻣﻌﺘﻘﺪﻧﺪ ﻭﺭﻭﺩ ﺍﻳﻨﮕﻮﻧﻪ ﻣﻮﺳﻴﻘﯽﻫﺎ ﻟﻄﻤﻪ ﺑﻪ ﺍﺳﺎﺱ‬ ‫ﺑﻨﻴﺎﻥﻫﺎﯼ ﻣﻮﺳﻴﻘﺎﻳﯽ ﻫﺮ ﻣﻠﺘﯽ ﺧﻮﺍﻫﺪ ﺯﺩ‪....‬ﻭﺍﺭﻭﮊﺍﻥﻫﺎﺧﺒﺎﻧﺪﻳﺎﻥ ﻣﻮﺳﻴﻘﻴﺪﺍﻥ ﺑﺮﺟﺴﺘﻪ‬ ‫ﺍﻳﺮﺍﻧﯽ ـ ﺍﺭﻣﻨﯽ ﺗﺒﺎﺭﯼ ﺑﻮﺩ)‪۱۳۵۶‬ـ ‪(۱۳۱۵‬ﺁﺷــﻨﺎ ﺑﻪ ﻋﻠﻮﻡ ﻭ ﻓﻨﻮﻥ ﻣﻮﺳﻴﻘﯽ ﮐﻼﺳﻴﮏ ﻭ‬ ‫ﻣﻮﺳﻴﻘﯽ ﺍﺻﻴﻞ ﺁﻳﻴﻦ ﻭ ﻗﻮﻣﻴﺖ ﺧﻮﺩ ﮐﻪ ﺑﻪ ﮊﺍﻧﺮ ﭘﺎﭖ ﺩﺭ ﺣﺪﯼ ﺟﻬﺎﻧﺸﻤﻮﻝ ﺁﮔﺎﻫﯽ ﻭ‬ ‫ﺩﺍﻧﺶ ﻻﺯﻣﻪ ﺭﺍ ﺩﺍﺷــﺖ‪ .‬ﺍﻭ ﺑﻪﺩﺭﺳﺘﯽ ﺍﺯ ﻣﻮﺳﻴﻘﯽ ﺍﻳﺮﺍﻧﯽ ﺑﻬﺮﻩ ﻣﯽﺟﺴﺖ ﻭ ﺁﮔﺎﻫﺎﻧﻪ ﺩﺭ‬ ‫ﻣﻮﺳﻴﻘﯽ ﭘﺎﭖ ﻭﺍﻗﻌﯽ ـ ﻧﻪ ﺷﺒﻪ ﭘﺎﭖ ـ ﺁﻓﺮﻳﻨﺸﮕﺮﯼ ﻣﯽﮐﺮﺩ‪ .‬ﻭﺍﺭﻭﮊﺍﻥ ﻧﻪ ﺻﺮﻓﺎ ﺑﺎ ﺗﮑﻴﻪ ﺑﺮ‬ ‫ﺩﺭﻭﺱ ﺁﮐﺎﺩﻣﻴﮏ ﺩﺍﻧﺸﮕﺎﻫﯽ ـ ﮐﻪ ﻋﻤﻮﻣﺎ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺁﻥ ﭘﺲ ﺍﺯ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻠﯽ ﺟﺰﻭ‬ ‫ﻣﻌﻠﻮﻻﻥ ﻫﻨﺮﯼ )ﺑﻪ ﺗﻌﺒﻴﺮ ﺍﺳﺘﺎﺩ ﺣﺴﻴﻦ ﺩﻫﻠﻮﯼ( ﻣﺤﺴﻮﺏ ﻣﯽﮔﺮﺩﻧﺪ ﺑﻠﮑﻪ ﺑﺮ ﺍﺳﺎﺱ‬ ‫ﮐﺴﺐ ﺗﺠﺮﺑﻪﻫﺎﯼ ﺍﺻﻮﻟﯽ ﺩﺭ ﮐﻨﺎﺭ ﺷﻨﺎﺧﺖ ﻻﺯﻡ ﺍﺯ‬ ‫ﺷﻢ ﻭ ﺍﺳﺘﻌﺪﺍﺩ ﺧﺪﺍﺩﺍﺩﯼ ﺑﻪ ﻫﻤﺮﺍﻩ ِ‬ ‫ﺭﻭﺣﻴﻪ ﻣﺮﺩﻡ ﺭﻭﺯﮔﺎﺭ ﺧﻮﻳﺶ ﻣﻮﺳﻴﻘﯽﻫﺎﻳﯽ ﻋﺮﺿﻪ ﮐﺮﺩ ﮐﻪ ﺗﺎ ﺑﻪ ﺍﻣﺮﻭﺯ ﻧﻤﻮﻧﻪ ﻭ ﻣﺜﺎﻟﯽ‬ ‫ﻫﻤﻄﺮﺍﺯ ﻫﻤﮑﺎﺭﺍﻥ ﻭ ﻫﻢ ﺭﺩﻳﻔﺎﻥ ﺧﻮﺩ ﻧﺪﺍﺷﺘﻪ ﻭ ﭼﻪ ﺑﺴﺎ ﻣﻮﺳﻴﻘﯽﺍﺵ ﻓﺮﺍﺩﻭﺭﺍﻧﯽ ﺍﺳﺖ‪.‬‬

‫ﺍﻭ ﻧﻪ ﺗﮑﻨﻴﮏ ﺭﺍ ﻭ ﻧﻪ ﺍﺣﺴﺎﺱ ﺭﺍ‪ ،‬ﻫﻴﭻ ﮐﺪﺍﻡ ﺭﺍ ﻏﺎﻟﺐ ﺑﺮ ﻫﻤﺪﻳﮕﺮ ﻧﻤﯽﺩﺍﻧﺴﺖ‪ .‬ﺣﺪﺍﻗﻞ‬ ‫ﺩﺭ ﺁﺛﺎﺭﺵ ﺍﻳﻨﮕﻮﻧﻪ ﻫﻮﻳﺪﺍﺳﺖ‪.‬ﺍﻭ ﺗﮑﻨﻴﮏ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﮐﺎﻟﺒﺪ ﺭﻭﺡ ﺯﻣﺎﻧﻪ ﺩﻣﻴﺪ ﻭ ﺁﻧﭽﻨﺎﻥ‬ ‫ﺗﻠﻔﻴﻘــﯽ ﺑﺎ ﺭﻭﺡ ﻭ ِ‬ ‫ﺭﻭﺍﻥ ﺁﺩﻣﯽـ ﻧﻮﺍﺯﻧﺪﻩ ﻭ ﺧﻮﺍﻧﻨﺪﻩ ـ ﺍﻳﺠﺎﺩ ﮐﺮﺩ ﮐﻪ ﺷــﻨﻮﻧﺪﻩ ﻋﺎﻣﯽﻧﻴﺰ‬ ‫ِّ‬ ‫ﺣﻆ ﻭﺍﻓﯽ ﺭﺍ ﺣﺘﯽ ﺑﺮ ﺍﺳﺎﺱ ﺷﻨﻴﺪﺍﺭ ﺳﻄﺤﯽ ﻭ ﺣﺘﯽ ﮔﺎﻩ ﻋﻤﻴﻖ‪ ،‬ﺑﻪ ﻳﮏ ﺳﺎﻥ ﺩﺍﺷﺖ‪.‬‬ ‫ﺗﻼﺵ ﺑﺮﺍﯼ ﺧﻼﻗﻴﺘﯽ ﺩﺭ ﺧﺪﻣﺖ ﺍﺣﺴــﺎﺱ ﻭ ﺍﺣﺴﺎﺱ ﺩﺭ ﺧﺪﻣﺖ ﺍﺭﺍﺋﻪ ﺍﺛﺮﯼ ﺑﺮﺍﯼ‬ ‫ﺟﺎﻭﺩﺍﻧﮕﯽ‪ .‬ﺍﻭ ﺗﻤﺎﻡ ﺍﺑﺰﺍﺭ ﻭ ﺁﻻﺕ ﻭ ﻫﺮ ﺁﻧﭽﻪ ﺑﺮﺍﯼ ﺧﻠﻖ ﺍﺛﺮﯼ ﮔﺮﺍﻧﻤﺎﻳﻪ ﻭ ﻣﺎﻧﺪﮔﺎﺭ ﻻﺯﻡ‬ ‫ﺍﺳﺖ‪ ،‬ﻫﻤﭽﻮﻥ ﻣﻮﻣﯽ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺖ ﻭ ﺑﺎ ﺭﺷﺘﻪ ﺍﻓﮑﺎﺭ ﺍﺯ ﭘﻴﺶ ﺳﺎﺧﺘﻪ ﻭ ﺗﺮﺑﻴﺖ ﺷﺪﻩ‪،‬‬ ‫ﺑﺎ ﻣﻀﺎﻣﻴﻦ ﺑﺮﺧﺎﺳﺘﻪ ﺍﺯ ﺭﻭﺡ ﺍﻳﺮﺍﻧﯽ ﻭ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺍﻧﺴﺎﻧﯽ ﺍﺯ ﺳﺮ ﺗﻌﻬﺪ ﻭ ﻧﻪ ﺍﺯ ﺳﺮ ﺍﺟﺒﺎﺭ‬ ‫ﻭ ﺭﻓﻊ ﺗﮑﻠﻴﻒ‪ ،‬ﺻﺪﺍﻳﯽ ﺭﺍ ﺑﻪ ﮔﻮﺵ ﻣﯽﺭﺳﺎﻧﻴﺪ ﮐﻪ ﺍﺯ ﻣﻨﻈﺮ ﻫﺮ ﻧﮕﺎﻩ ﻭ ﻫﺮ ﺍﻧﺪﻳﺸﻪﺍﯼ‬ ‫ﻗﺎﺑﻞ ﺗﺄﻣﻞ ﺑﻮﺩ ﻭ ﺗﺤﺴﻴﻦﻫﺎ ﺭﺍ ﺑﻪ ﺳﻮﯼ ﺧﻮﺩ ﻣﻌﻄﻮﻑ ﻣﯽﮐﺮﺩ‪ .‬ﻫﺪﻑ ﻭﺍﺭﻭﮊﺍﻥ ﺩﺭ ﺁﻥ‬ ‫ِ‬ ‫ﺩﻭﺭﺍﻥ ﮐﻪ ﺗﻮﺳﻌﻪ ﻣﻮﺳﻴﻘﺎﻳﯽ ﺑﺎ ﺗﺮﻭﻳﺞ ﺍﺑﺘﺬﺍﻝ ﮐﻼﻣﯽﻭ ﺗﺼﻮﻳﺮﯼ ﻧﻴﺰ ﻫﻤﺮﺍﻩ ﺑﻮﺩ‪ ،‬ﺗﻤﺎﻡ‬ ‫ﺗﻼﺵ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺟﻬﺖ ﺳﺎﺧﺖ ﻭ ﺳﺎﺯ ﻧﻤﻮﻧﻪﻫﺎﯼ ﻣﻮﺳﻴﻘﺎﻳﯽ ﺧﻮﺏ )ﺍﺯ ﻟﺤﺎﻅ ﻓﻨﯽ ﻭ‬ ‫ﻧﮕﺎﻩ ﺍﺟﺘﻤﺎﻋﯽ( ﺩﺭ ﮐﻨﺎﺭ ﻣﻌﺪﻭﺩ ﻣﻮﺳﻴﻘﻴﺪﺍﻧﺎﻥ‪ ،‬ﻣﺤﻠﯽ‪ ،‬ﺳﻨﺘﯽ‪ ،‬ﺍﺻﻴﻞ ﻭ ﮐﻼﺳﻴﮏ ﻣﻌﻄﻮﻑ‬ ‫ﻣﯽﮐﺮﺩ‪.‬ﺍﮔﺮﭼﻪ ﺍﻭ ﺑﻪ ﺩﻟﻴﻞ ﺍﺟﺒﺎﺭ ﺑﻪ ﺗﺄﻣﻴﻦ ﻣﻌﺎﺵ ﺯﻧﺪﮔﯽ ﺁﻫﻨﮓﻫﺎﻳﯽ ﺭﺍ ﻫﻢ ﻃﺒﻖ ﺳﻔﺎﺭﺵ‬ ‫ﺑﺮﺧﯽ ﺍﺯ ﮐﻤﭙﺎﻧﯽﻫﺎ ﻭ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻣﯽﭘﺬﻳﺮﻓﺖ ﻭﻟﯽ ﻫﻴﭽﮕﺎﻩ ﺳﻠﻴﻘﻪ ﻭ ﺗﺨﺼﺺ ﺧﻮﺩ‬ ‫ﺭﺍ ﻓﺪﺍﯼ ﺩﺭﺧﻮﺍﺳﺖﻫﺎ ﻧﮑﺮﺩ ﻭ ﺍﺗﻔﺎﻗﺎ ﺍﻳﻨﮕﻮﻧﻪ ﮐﺎﺭﻫﺎﯼ ﺍﻭ ﺿﻤﻦ ﺍﻳﻨﮑﻪ ﺑﺎﻋﺚ ﻣﯽﺷﺪ‬ ‫ﺑﺴﻴﺎﺭﯼ ﺍﺯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺑﻪ ﺷﻬﺮﺕ ﺑﺮﺳﻨﺪ‪ ،‬ﭘﺲ ﺍﺯ ﺍﻧﺪﮎ ﺯﻣﺎﻧﯽ ﻫﻤﻪ ﺭﺍ ﻣﺘﻮﺟﻪ ﻣﯽﮐﺮﺩ‬ ‫ﮐﻪ ﺻﺪﺍﯼ ﺑﻌﻀﯽ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺑﻪ ﻭﺍﺳﻄﻪ ﻣﻮﺳﻴﻘﯽ ﻭ ﺗﻨﻈﻴﻢ ﺍﺭﺍﺋﻪ ﺷﺪﻩ ﺍﺯ ﺳﻮﯼ ﺍﻭﺳﺖ‬ ‫ﮐﻪ ﺯﻣﻴﻨﻪ ﺷــﻬﺮﺕ ﺷــﺎﻥ ﺭﺍ ﻓﺮﺍﻫﻢ ﮐﺮﺩﻩ ﺍﺳﺖ ﻭ ﺩﻟﻴﻞ ﺍﺛﺒﺎﺕ ﺍﻳﻦ ﻣﺪﻋﺎ ﺩﺭ ﺁﻫﻨﮕﺴﺎﺯﺍﻥ‬ ‫ﺑﻌﺪ ﺍﺯ ﻭﺍﺭﻭﮊﺍﻥ ﺍﺳﺖ ﮐﻪ ﺍﻗﺒﺎﻟﯽ ﻧﻴﺎﻓﺘﻨﺪ‪ ،‬ﻳﺎ ﺍﺯ ﺳﺮ ﺷﮑﻢ ﺳﻴﺮﯼ‪ ،‬ﻳﺎ ﺑﯽﺗﺨﺼﺼﯽ‪ ،‬ﻳﺎ ﮐﻢ‬ ‫ﻣﺎﻳﮕﯽ ﻭ‪ ...‬ﮐﺎﺭ ﮐﺮﺩﻩ ﻭ ﺍﺗﻔﺎﻗﺎ ﺍﻳﻦ ﻣﻮﺳﻴﻘﯽ ﻭ ﺗﻨﻈﻴﻢ ﻭﺍﺭﻭﮊﺍﻥ ﺑﻮﺩﻩ ﺍﺳﺖ ﮐﻪ ﺟﺎﻳﮕﺎﻩ ﻭ‬ ‫ﻣﻨﺰﻟﺘﯽ ﺑﺮﺍﻳﺸﺎﻥ ﻣﯽﺳﺎﺧﺘﻪ‪.‬ﻭﺍﺭﻭﮊﺍﻥ ﺑﻪﺭﻏﻢ ﺗﺨﺼﺺ ﻭﻳﮋﻩ ﺩﺭ ﺍﺭﺍﺋﻪ ﻣﻮﺳﻴﻘﯽ ﭘﺎﭖ )ﺑﻪ‬ ‫ﻋﺎﺭﻳﺖ ﮔﺮﻓﺘﻪ ﺍﺯ ﻏﺮﺏ ﻭ ﺑﻪ ﺩﺭﺳﺘﯽ ﺍﻳﺮﺍﻧﻴﺰﻩ ﺷﺪﻩ( ﮐﻪ ﺗﺤﻮﻳﻞ ﮔﻮﺵﻫﺎﯼ ﻣﺮﺩﻡ ﻣﯽﺩﺍﺩ ﺩﺭ‬ ‫ﻋﻴﻦ ﺭﻋﺎﻳﺖ ﭼﺎﺭﭼﻮﺏ ﻣﺨﺘﺼﺎﺕ ﻓﻨﯽ ﻣﻮﺳﻴﻘﯽ ﭘﺎﭖ )ﺭﻳﺘﻢ‪،‬ﻫﺎﺭﻣﻮﻧﯽ‪ ،‬ﺗﮑﺮﺍﺭﻫﺎ ﻭ‪ (...‬ﺁﻥ‬ ‫ﺻﺪﺍﻳﯽ ﮐﻪ ﺑﻪ ﮔﻮﺵ ﺷﻨﻮﻧﺪﻩ ﻣﯽﺭﺳﻴﺪ ﮔﻮﻳﺎﯼ ﻣﻮﺳﻴﻘﯽ ﻭﻃﻨﯽ ﺑﻮﺩ؛ ﻧﻪ ﺁﻫﻨﮓ ﻓﺎﺭﺳﯽ )ﺑﺮ‬ ‫ﻭﺯﻥ ﻓﻴﻠﻤﻔﺎﺭﺳﯽ( ﻭ ﻧﻪ ﮐﻮﭼﻪ ﺑﺎﺯﺍﺭﯼ ﻭ ﻧﻪ ﺳﻨّﺖ ﻭ ﻧﻪ ﮐﻼﺳﻴﮏ ﻏﺮﺑﯽ ﻭ ﻧﻪ ﻣﻮﺳﻴﻘﯽ ﭘﺎﭖ‬

‫ﻏﺮﺑﯽ‪ .‬ﺍﻭ ﺑﺎ ﺷﻨﺎﺧﺘﯽ ﮐﻪ ﺍﺯ ﻣﻮﺳﻴﻘﯽ ﺍﺻﻴﻞ ﺍﻳﺮﺍﻧﯽ ﺩﺍﺷﺖ ﺩﺭ ﺷﺎﻫﮑﺎﺭ ﻣﻮﺳﻴﻘﯽ ﺳﺮﻳﺎﻝ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﯽ ﺳﻠﻄﺎﻥ ﺻﺎﺣﺒﻘﺮﺍﻥ ﺩﺭ ﻣﺪﺕ ‪ ۳‬ﺩﻗﻴﻘﻪ ﺍﺛﺒﺎﺕ ﮐﺮﺩ ﮐﻪ ﭼﮕﻮﻧﻪ ﻣﯽﺗﻮﺍﻧﺪ ﺭﻭﺡ‬ ‫ﺍﻳﺮﺍﻧﯽ ﺭﺍ ﺑﺎ ﺳﺎﺯﻫﺎﯼ ﺍﻳﺮﺍﻧﯽ ﺑﻪﻭﻳﮋﻩ ﺳﺎﺯ ﻗﺎﻧﻮﻥ ﮐﻪ ﺩﺭ ﺁﻥ ﺩﻭﺭﻩ ﺑﻴﺸﺘﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﺳﺎﺯ ﻋﺮﺑﯽ‬ ‫ﻣﻄﺮﺡ ﺑﻮﺩ ﺭﺍ ﺑﻪ ﮐﺎﺭ ﮔﻴﺮﺩ ﻭ ﻧﻐﻤﺎﺗﯽ ﺭﺍ ﻣﺘﺒﻠﻮﺭ ﺳﺎﺯﺩ ﮐﻪ ﺑﺮﺍﯼ ﺑﻴﻨﻨﺪﻩ ﺳﺮﻳﺎﻝ ﺣﺘﯽ ﺑﻴﺸﺘﺮ ﺍﺯ‬ ‫ﺩﻳﺎﻟﻮﮒﻫﺎﯼ ﻓﻴﻠﻢ ﺍﺛﺮﺑﺨﺸﯽ ﺍﻳﺠﺎﺩ ﮐﻨﺪ ﻭ ﺍﺗﻔﺎﻗﺎ ﻣﻮﻓﻖ ﻫﻢ ﺷﺪ‪.‬ﺑﻪ ﻃﻮﺭ ﮐﻠﯽ ﺑﻴﺎﻥ ﺗﺼﻮﻳﺮﯼ‬ ‫ﻭ ﭘﺮﻭﮔﺮﺍﻣﺘﻴﮏ ﺑﻮﺩﻥ ﺁﺛﺎﺭ ﻣﻮﺳﻴﻘﺎﻳﯽ ﻭﺍﺭﻭﮊﺍﻥ ﺩﺭ ﻧﻮﻉ ﺧﻮﺩ ﻣﺜﺎﻝﺯﺩﻧﯽ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ‬ ‫ﻫﻤﻴﻦ ﺗﻌﺪﺍﺩ ﺑﻪ ﻧﺴﺒﺖ ﺍﻧﺪﮎ ﺁﺛﺎﺭﺵ ﺭﺍ ﺑﺮﺭﺳﯽ ﮐﻨﻴﻢ‪ ،‬ﻟﺤﻈﻪ ﻟﺤﻈﻪ ﺩﺍﺭﺍﯼ ﺑﻴﺎﻥ ﺗﺼﻮﻳﺮﯼ‬ ‫ﻭ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺯ ﺟﺎﻳﮕﺎﻩ ﺭﻳﺘﻢ ﻭ ﻣﻠﻮﺩﯼ ﺍﺳﺖ ﮐﻪ ﺍﺗﻔﺎﻗﺎ ﮐﺎﺭﮔﺮﺩﺍﻧﺎﻥ ﺗﺌﺎﺗﺮ ﻭ ﺳﻴﻨﻤﺎ ﭘﺲ ﺍﺯ‬ ‫ﺷﻨﻴﺪﻥ ﻫﺮ ﺁﻫﻨﮓ ﺗﺮﺍﻧﻪ ﻣﯽﺗﻮﺍﻧﻨﺪ ﭘﻼﻥ ﺑﻪ ﭘﻼﻥ ﺑﺎ ﻣﻴﺰﺍﻧﺴﻦﻫﺎﯼ ﻣﺘﻨﻮﻉ ﻣﺘﻦ ﻓﻴﻠﻢ ﺗﺎﺯﻩﺍﯼ ﺭﺍ‬ ‫ﺗﺨﻴﻞ ﮐﻨﻨﺪ ﻭ ﻧﻴﺰ ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴﺎﻥ ﺍﻳﻦ ﺑﺎﺭ ﺑﻪ ﺟﺎﯼ ﺍﻗﺘﺒﺎﺱ ﺍﺯ ﻗﺼﻪﺍﯼ‪ ،‬ﺩﺍﺳﺘﺎﻧﯽ ﻭ ﻳﺎ ﻣﺘﻨﯽ؛‬ ‫ﺍﻳﻦﺑﺎﺭ ﺍﺯ ﻳﮏ ﻣﻮﺳﻴﻘﯽ ﭘﺮ ﻧﺸﺎﻁ ﭘﺎﭖ ﺍﻳﺮﺍﻧﯽ ﻣﻮﺿﻮﻉ ﻭ ﮐﺎﺭﺍﮐﺘﺮ ﺩﺭﻳﺎﻓﺖ ﮐﻨﻨﺪ‪ .‬ﻭﺍﺭﻭﮊﺍﻥ‬ ‫ﺻﺪﺍﯼ ﻣﻮﺳﻴﻘﯽ ﺣﻘﻴﻘﺖ ﺍﺯ ﭘﻴﺮﺍﻣﻮﻥ ﻣﺮﺩﻡ ﺧﻮﺩ ﺑﻮﺩ؛ﺻﺪﺍﯼ ﻧﻬﻔﺘﻪ ﺩﺭ ﮐﺎﻟﺒﺪ ﻣﻮﺳﻴﻘﯽ‬ ‫ﻗﺪﻳﻤﯽ ﺍﻳﺮﺍﻧﯽ ﮐﻪ ﺯﻭﺩﺗﺮ ﻣﺠﺎﻟﯽ ﺑﺮﺍﯼ ﺩﻳﮕﺮ ﺷﺪﻥ ﻧﻴﺎﻓﺘﻪ ﺑﻮﺩ‪ ...‬ﺻﺪﺍﯼ ﺍﻋﻤﺎﻕ ﻣﻮﺳﻴﻘﯽﺍﯼ‬ ‫ﺑﻮﺩ ﮐﻪ ﻣﯽﺧﻮﺍﺳﺖ ﺑﺎ ﺍﺳﻠﻮﺏ ﺫﺍﺗﯽ ﻣﻮﺳﻴﻘﯽ ﺍﻳﺮﺍﻧﯽ ﭘﺎﭘﻴﻮﻻﺭﻳﺰﻩ ﺷﻮﺩ‪ ....‬ﻭ ﺻﺪﺍﻳﯽ ﮐﻪ‬ ‫ﺛﺎﻧﻴﻪ ﺑﻪ ﺛﺎﻧﻴﻪﺍﺵ ﭘﺮﺩﻩﺍﯼ ﺍﺯ ﻧﻤﺎﻳﺶ ﻣﻮﺯﻳﮑﺎﻝ ﮐﻮﭼﻪ ﻭ ﺑﺎﺯﺍ ِﺭ ﺍﻳﻦ ﺑﺎﺭ ﺭﻭﯼ ﭘﺮﺩﻩ ﺗﻤﺎﺷﺎﺧﺎﻧﻪ‬ ‫ﻳﺎ ﺟﻌﺒﻪ ﺟﺎﺩﻭ ﺩﺭ ﺧﺎﻧﻪﻫﺎ ﭘﻴﺎﻡ ﺁﻭﺭ ﺍﻟﮕﻮﻳﯽ ﻣﺘﻔﺎﻭﺕﺗﺮ ﺍﺯ ﺁﻧﭽﻪ ﮐﻪ ﺑﺮﺍﯼ ﻣﻮﺳﻴﻘﯽ ﭘﺮﻓﺮﺍﺯ‬ ‫ﻭ ﻓﺮﻭﺩ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦ ﻭ ﺑﺰﺭﮔﺎﻧﺶ ﻣﺘﺼﻮﺭ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻮﺩ ﻭ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﯽﮐﺸﻴﺪ‪.‬ﻭﺍﺭﻭﮊﺍﻥ ﺩﺭ‬ ‫ﻳﮏ ﮐﻼﻡ ﻣﺒﺪﻉ ﻭﺍﻗﻌﯽ ﻣﻮﺳــﻴﻘﯽ ﭘﺎﭖ ﺍﻳﺮﺍﻧﯽ ﺍﺳﺖ ﮐﻪ ﻧﻐﻤﺎﺕ ﻭ ﺁﻻﺕ ﻭ ﺍﺑﺰﺍﺭ ﺭﺍ ﺩﺭ‬ ‫ﺧﺪﻣﺖ ﻓﻬﻢ ﺟﺪﻳﺪﯼ ﺍﺯ ﻣﻮﺳﻴﻘﯽ ﺍﻳﺮﺍﻧﯽ‪ ،‬ﺑﺮﺍﯼ ﻣﺮﺩﻡ ﺧﺴﺘﻪ ﺍﺯ ﻣﻮﺳﻴﻘﯽﻫﺎﯼ ﺗﮑﺮﺍﺭﯼ‬ ‫ﻓﺎﻗﺪ ﺧﻼﻗﻴﺖ ﻭ ﺗﺎﺯﮔﯽ ﻭ ﮐﻢ ﻣﺎﻳﻪ ﺭﻭﺯﮔﺎﺭ ﺧﻮﺩ ﺗﻬﻴﻪ ﻭ ﺗﺪﺍﺭﮎ ﻣﯽﺩﻳﺪ‪ .‬ﻣﺘﺄﺳﻔﺎﻧﻪ ﭘﻴﺮﻭﺍﻥ‬ ‫ﺍﻭ ﺑﺴﻴﺎﺭ ﮐﻢ ﻫﺴﺘﻨﺪ ﻭ ﺍﺯ ﻣﺤﺘﻮﺍﯼ ﺫﻫﻨﯽ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﺍﺳﺘﻌﺪﺍﺩ ﻭ ﺗﻮﺍﻧﯽ ﺩﺭ ﺣﺪ ﺍﻭ ﺑﺮﺧﻮﺭﺩﺍﺭ‬ ‫ﻧﻴﺴﺘﻨﺪ‪ .‬ﺍﻭ ﻓﺮﺍﺗﺮ ﺍﺯ ﺁﻫﻨﮕﺴﺎﺯﺍﻧﯽ ﺑﻮﺩ ﮐﻪ ﺻﺮﻓﺎ ﺑﺎ ﺗﮑﻴﻪ ﺑﺮ ﻋﻠﻢ ﺩﺭ ﻣﻮﺳﻴﻘﯽ )ﻫﺎﺭﻣﻮﻧﯽ ﻭ‬ ‫ﮐﻨﺘﺮﭘﻮﺍﻥ ﻭ ﺍﺭﮐﺴﺘﺮﺍﺳﻴﻮﻥ ﻭ‪ ...‬ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﺭﻳﺎﺿﯽ( ﺟﻠﻮ ﺑﺮﻭﺩ‪ .‬ﺟﺎﻥ ﮐﻼﻡ ﻭ ﻓﻦ ﻣﻮﺳﻴﻘﺎﻳﯽ‬ ‫ﺭﺍ ﺍﺯ ﺩﺭﻭﻥ ﻭ ﺑﻴﺮﻭﻥ ﻣﯽﺟﻮﻳﻴﺪ ﻭ ﺣﺲ ﻣﯽﮐﺮﺩ ﺗﺎ ﺍﺛﺮﯼ ﺑﺪﻳﻊ ﻭ ﺑﺪﻳﻞ ﺧﻠﻖ ﺷﻮﺩ‪ .‬ﻭﺍﺭﻭﮊﺍﻥ‬ ‫ﺑﻪ ﺗﻨﻬﺎﻳﯽ ﻣﺪﺭﺳﻪ ﮐﺎﻣﻠﯽ ﺑﻮﺩ‪ ،...‬ﻫﻨﺮﺳﺘﺎﻥ ﻭ ﺩﺍﻧﺸﮕﺎﻩ‪ ،‬ﻣﻮﺳﻴﻘﻴﺪﺍﻥ ﺗﺮﺑﻴﺖ ﻧﻤﯽﮐﻨﺪ ﻭ‪ ...‬ﻭ‬ ‫ﭼﻪ ﺯﻭﺩ ﺍﺯ ﺩﺳﺘﻤﺎﻥ ﺭﻓﺖ‪ .‬ﻳﺎﺩﺵ ﮔﺮﺍﻣﯽ‪.‬‬

‫ﺳﻪﺷﻨﺒﻪ ‪ ۲۵‬ﻣﻬﺮ‪ / ۱۳۹۱‬ﺷﻤﺎﺭﻩ ‪۲۰۲۹‬‬

‫ﻣـﻮﺳـﻴﻘــﻰ‬

‫ﻧـﮕﺎﻩ‬ ‫ﻭﻗﺘﯽ ﺩﺭﺁﻣﺪ ﻣﻮﺟﺐ ﮐﻢ ﻓﺮﻭﺷﯽ ﻣﯽﺷﻮﺩ‬ ‫ﻳﺎﺳﺮﺷﻴﺨﯽﻳﮕﺎﻧﻪ‬

‫ﻣﻌﻤﻮﻻ ﮐﻨﺴﺮﺕﻫﺎﯼ ﻣﻮﺳﻴﻘﯽ ﺭﺍ ﻫﺮ ﺷﺐ ﻭ ﺩﺭ ﻳﮏ ﺳﺎﻧﺲ ﺑﺮﮔﺰﺍﺭ ﻣﯽﮐﻨﻨﺪ ﺍﻣﺎ‬ ‫ﺩﺭ ﺍﻳﺮﺍﻥ ﮔﺎﻫﯽ ﺩﻳﺪﻩ ﻣﯽﺷﻮﺩ ﮐﻪ ﮔﺮﻭﻩﻫﺎﯼ ﻣﻮﺳﻴﻘﯽ ﺩﺭ ﻳﮏ ﺭﻭﺯ‪ ،‬ﺩﻭ ﺑﺎﺭ ﻭ ﺑﻪ ﻓﺎﺻﻠﻪ‬ ‫ﺯﻣﺎﻧﯽ ﮐﻤﺘﺮ ﺍﺯ ﻳﮏ ﺳﺎﻋﺖ ﺑﻪ ﺭﻭﯼ ﺻﺤﻨﻪ ﻣﯽﺭﻭﻧﺪ ﮐﻪ ﺷﺐ ﮔﺬﺷﺘﻪ ﺷﺎﻫﺪ ﭼﻨﻴﻦ‬ ‫ﺣﺮﮐﺘﯽ ﺍﺯ ﺳــﻮﯼ ﮔﺮﻭﻩ ﺩﺳﺘﺎﻥ ﺑﻮﺩﻳﻢ‪ .‬ﻫﻨﺮﺁﻧﻼﻳﻦ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ :‬ﺁﻧﭽﻪ ﻣﺴﻠﻢ ﺍﺳﺖ‬ ‫ﮔﺮﻭﻩﻫﺎﻳﯽ ﮐﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﭼﻨﺪ ﺭﻭﺯ ﮐﻨﺴﺮﺕ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﺩﺭ ﻫﺮ ﺭﻭﺯ ﺗﻨﻬﺎ ﻳﮏ ﺑﺎﺭ ﺑﻪ‬ ‫ﺭﻭﯼ ﺻﺤﻨﻪ ﻣﯽﺭﻭﻧﺪ ﺗﺎ ﻓﺮﺻﺖ ﮐﺎﻓﯽ ﺑﺮﺍﯼ ﺍﺳﺘﺮﺍﺣﺖ ﻭ ﺗﻤﺮﮐﺰ ﺩﻭﺑﺎﺭﻩ ﺭﺍ ﺗﺎ ﺍﺟﺮﺍﯼ‬ ‫ﺑﻌﺪﯼ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﻭﻟﯽ ﻫﻨﮕﺎﻣﯽﮐﻪ ﮔﺮﻭﻩﻫﺎ ﺗﻨﻬﺎ ﺑﻪ ﻓﺎﺻﻠﻪ ﺯﻣﺎﻧﯽ ﻳﮏ ﺳﺎﻋﺖ ﺑﺎﺭ‬ ‫ﺩﻳﮕﺮ ﺑﺮﺍﯼ ﻧﻮﺍﺧﺘﻦ ﻭ ﺧﻮﺍﻧﺪﻥ ﺑﻪ ﺻﺤﻨﻪ ﻣﯽﺁﻳﻨﺪ ﺑﻪ ﻋﻠﺖ ﻧﺪﺍﺷﺘﻦ ﻓﺮﺻﺖ ﮐﺎﻓﯽ ﺑﺮﺍﯼ‬ ‫ﺍﺳﺘﺮﺍﺣﺖﺍﺯﮐﻴﻔﻴﺖﺍﺟﺮﺍﯼﺁﻧﻬﺎﮐﺎﺳﺘﻪﻣﯽﺷﻮﺩ‪.‬ﮔﺎﻫﯽﺍﻳﻦﺧﺴﺘﮕﯽﻣﯽﺗﻮﺍﻧﺪﮐﻴﻔﻴﺖ‬ ‫ﺍﺟﺮﺍﻫﺎ ﺭﺍ ﺁﻧﻘﺪﺭ ﭘﺎﻳﻴﻦ ﺑﻴﺎﻭﺭﺩ ﮐﻪ ﺗﻮﺍﻧﺎﻳﯽﻫﺎﯼ ﻫﻨﺮﯼ ﮔﺮﻭﻩ ﺭﺍ ﺯﻳﺮ ﺳﻮﺍﻝ ﺑﺒﺮﺩ‪ .‬ﺣﺎﻝ ﺑﺎﻳﺪ‬ ‫ﺩﻳﺪ ﺑﺎ ﻭﺟﻮﺩ ﺧﺴﺘﮕﯽﻫﺎﻳﯽ ﮐﻪ ﺑﺮﺍﯼ ﺍﻋﻀﺎﯼ ﮔﺮﻭﻩ ﺑﻪ ﻭﺟﻮﺩ ﻣﯽﺁﻳﺪ ﭼﺮﺍ ﺁﻧﻬﺎ ﭼﻨﻴﻦ‬ ‫ﮐﺎﺭﯼ ﻣﯽﮐﻨﻨﺪ‪ .‬ﭼﺮﺍ ﮔﺮﻭﻫﯽ ﻣﺎﻧﻨﺪ ﺩﺳﺘﺎﻥ ﺣﺎﺿﺮ ﻣﯽﺷﻮﺩ ﻧﻤﻮﺩ ﺗﻮﺍﻧﺎﻳﯽ ﻫﻨﺮﯼ ﺧﻮﺩ ﺭﺍ‬ ‫ﺩﺭﻧﺰﺩﻣﺨﺎﻃﺒﺎﻧﺸﺎﻥﺑﻪﺧﻄﺮﺑﻴﻨﺪﺍﺯﻧﺪ؟ﻣﻬﻢﺗﺮﻳﻦﺩﻟﻴﻠﯽﮐﻪﮔﺮﻭﻩﻫﺎﺗﺮﺟﻴﺢﻣﯽﺩﻫﻨﺪﺩﺭ‬ ‫ﻳﮏ ﺷﺐ ﺩﻭ ﺑﺎﺭ ﺑﻪ ﺭﻭﯼ ﺻﺤﻨﻪ ﺑﺮﻭﻧﺪ ﺑﻪ ﺩﺭﺁﻣﺪﻫﺎ ﻭ ﻫﺰﻳﻨﻪﻫﺎﯼ ﮐﻨﺴﺮﺕ ﺑﺎﺯ ﻣﯽﮔﺮﺩﺩ‪.‬‬ ‫ﺍﺟﺎﺭﻩ ﺑﻬﺎﯼ ﺳــﺎﻟﻦ ﻫﻤﺎﻳﺶﻫﺎﯼ ﺑﺮﺝ ﻣﻴﻼﺩ ﺑﺮﺍﯼ ﻳﮏ ﺷﺐ ﺩﺭ ﺣﺪﻭﺩ ‪ ۳۰‬ﻣﻴﻠﻴﻮﻥ‬ ‫ﺗﻮﻣﺎﻥ ﺍﺳﺖ‪ .‬ﮔﺮﻭﻩ ﺩﺳﺘﺎﻥ ﺑﺮﺍﯼ ﺍﺟﺮﺍﯼ ﺩﻭ ﺷﺐ ﺑﺮﻧﺎﻣﻪ ﺩﺭ ﺍﻳﻦ ﺳﺎﻟﻦ ﻣﺒﻠﻐﯽ ﺑﻴﺶ ﺍﺯ‬ ‫‪ ۶۰‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ ﺭﺍ ﻫﺰﻳﻨﻪ ﮐﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﺁﻳﺎ ﺩﺭﺁﻣﺪﻫﺎﯼ ﮐﻨﺴﺮﺕ ﭘﺎﺳﺨﮕﻮﯼ ﺍﻳﻦ‬ ‫ﺍﺟﺎﺭﻩ ﺑﻬﺎ‪ ،‬ﭘﺮﺩﺍﺧﺖ ﺩﺳﺘﻤﺰﺩﻫﺎ ﻭ ﻫﺰﻳﻨﻪﻫﺎﯼ ﺟﺎﺭﯼ ﻫﺴﺖ؟ ﺍﺯ ﻃﺮ��� ﺩﻳﮕﺮ ﻣﻬﻢﺗﺮﻳﻦ‬ ‫ﺩﺭﺁﻣﺪﻫﺎﯼﺑﺮﮔﺰﺍﺭﯼﻳﮏﮐﻨﺴﺮﺕﺑﻪﺑﻠﻴﺖﻓﺮﻭﺷﯽﻭﺗﺒﻠﻴﻐﺎﺕﻣﺮﺑﻮﻁﻣﯽﺷﻮﺩ‪.‬ﻗﻴﻤﺖ‬ ‫ﺑﻠﻴﺖ ﺩﺭ ﮐﻨﺴــﺮﺕ ﮔﺮﻭﻩ ﺩﺳﺘﺎﻥ ﺑﻴﻦ ‪ ۳۰‬ﺗﺎ ‪ ۶۰‬ﻫﺰﺍﺭ ﺗﻮﻣﺎﻥ ﺑﻮﺩ‪ .‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﺳﺎﻟﻦ‬ ‫ﻫﻤﺎﻳﺶﻫﺎﯼ ﺑﺮﺝ ﻣﻴﻼﺩ ﻇﺮﻓﻴﺖ ‪ ۱۸۰۰‬ﻧﻔﺮ ﺭﺍ ﺩﺍﺷــﺘﻪ ﮐﻪ ﻃﺒﻘﻪ ﻫﻤﮑﻒ ﺍﻳﻦ ﺳﺎﻟﻦ‬ ‫ﻇﺮﻓﻴﺘﯽ ﺩﺭ ﺣﺪﻭﺩ ‪ ۱۴۰۰‬ﻧﻔﺮ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺣﺎﻝ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﮐﻪ ﺑﻴﺸﺘﺮ ﺑﻠﻴﺖﻫﺎﯼ ﻃﺒﻘﻪ‬ ‫ﻫﻤﮑﻒ ﺑﺎ ﻗﻴﻤﺖ ‪ ۶۰‬ﻫﺰﺍﺭ ﺗﻮﻣﺎﻥ ﻓﺮﻭﺧﺘﻪ ﺷﺪﻧﺪ ﻣﯽﺗﻮﺍﻥ ﻣﻴﺎﻧﮕﻴﻦ ﻗﻴﻤﺖ ﻫﺮ ﺑﻠﻴﺖ‬ ‫ﺩﺭ ﮐﻨﺴﺮﺕ ﮔﺮﻭﻩ ﺩﺳﺘﺎﻥ ﺭﺍ ‪ ۵۰‬ﻫﺰﺍﺭ ﺗﻮﻣﺎﻥ ﻓﺮﺽ ﮐﺮﺩ ﮐﻪ ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﻫﺮ ﺳﺎﻧﺲ‬ ‫ﺍﺯ ﺍﺟﺮﺍﯼ ﮔﺮﻭﻩ ﺩﺳﺘﺎﻥ ‪ ۹۰‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ ﺩﺭﺁﻣﺪ ﺍﺯ ﺭﺍﻩ ﺑﻠﻴﺖ ﻓﺮﻭﺷﯽ ﺭﺍ ﺩﺭ ﭘﯽ ﺩﺍﺭﺩ‪.‬‬ ‫)ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺩﺭﺁﻣﺪﻫﺎ ﻓﻘﻂ ﻣﺨﺘﺺ ﮔﺮﻭﻩﻫﺎﻳﯽ ﻣﺎﻧﻨﺪ ﮔﺮﻭﻩ ﺩﺳﺘﺎﻥ ﺑﺎ ﺧﻮﺍﻧﻨﺪﮔﯽ ﺳﺎﻻﺭ‬ ‫ﻋﻘﻴﻠﯽ ﺍﺳﺖ ﮐﻪ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺩﺭ ﻫﺮ ﺳﺎﻧﺲ ﺳﺎﻟﻦ ﺭﺍ ﭘﺮ ﻣﯽﮐﻨﻨﺪ(‪ .‬ﺩﺭﺁﻣﺪﻫﺎﯼ ﺩﻳﮕﺮﯼ‬ ‫ﻧﻴﺰ ﻫﻤﭽﻮﻥ ﺗﺒﻠﻴﻐﺎﺕ ﻭ ﺍﺳﭙﺎﻧﺴﺮﻫﺎﯼ ﮐﻨﺴﺮﺕ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬ﺍﻣﺎ ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﮐﻪ ﺍﻳﻦ ﺩﺭﺁﻣﺪﻫﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﻫﺰﻳﻨﻪﻫﺎﯼ ﺟﺎﺭﯼ ﻭ ﺍﻧﺘﻈﺎﺭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺑﺮﺍﯼ ﺩﺭﻳﺎﻓﺖ‬ ‫ﺩﺳﺘﻤﺰﺩ‪،‬ﺭﻗﻢﻗﺎﺑﻞﻣﻼﺣﻈﻪﺍﯼﻧﻴﺴﺖ‪.‬ﺑﻪﻫﻤﻴﻦﺩﻟﻴﻞﺑﺮﮔﺰﺍﺭﮐﻨﻨﺪﮔﺎﻥﮐﻨﺴﺮﺕﺗﺮﺟﻴﺢ‬ ‫ﻣﯽﺩﻫﻨﺪ ﺍﺯ ﺍﺟﺎﺭﻩ ﺑﻬﺎﯼ‪ ۳۰‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻧﯽ ﮐﻪ ﺑﺮﺍﯼ ﻫﺮ ﺷﺐ ﭘﺮﺩﺍﺧﺖ ﻣﯽﮐﻨﻨﺪ ﻧﻬﺎﻳﺖ‬ ‫ﺑﻬﺮﻩ ﺭﺍ ﺑﺮﺩﻩ ﻭ ﺩﺭ ﻫﺮ ﺷﺐ ﺩﻭ ﺳﺎﻧﺲ ﺭﺍ ﺍﺟﺮﺍ ﮐﻨﻨﺪ ﮐﻪ ﻧﺘﻴﺠﻪ ﺍﻳﻦ ﺍﻣﺮ ﮐﺴﺐ ﺩﺭﺁﻣﺪﯼ‬ ‫ﺩﺭ ﺣﺪﻭﺩ ‪ ۱۸۰‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ ﺩﺭ ﻳﮏ ﺷﺐ‪ ،‬ﺑﺮﺍﯼ ﮐﻨﺴﺮﺕ ﮔﺮﻭﻩ ﺩﺳﺘﺎﻥ ﺑﻪ ﺧﻮﺍﻧﻨﺪﮔﯽ‬ ‫ﺳﺎﻻﺭ ﻋﻘﻴﻠﯽ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺣﺮﮐﺖ ﻣﯽﺗﻮﺍﻧﺪ ﺑﺨﺸﯽ ﺍﺯ ﻫﺰﻳﻨﻪﻫﺎﯼ ﺟﺎﺭﯼ ﺭﺍ ﺟﺒﺮﺍﻥ ﮐﻨﺪ‪.‬‬ ‫ﺗﺎ ﺍﻳﻨﺠﺎ ﻭ ﺍﺯ ﻣﻨﻈﺮ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺑﺮﮔﺰﺍﺭ ﮐﻨﻨﺪﮔﺎﻥ ﮐﻨﺴﺮﺕ ﻫﻤﻪ ﭼﻴﺰ ﺗﻘﺮﻳﺒﺎ ﺑﺪﻭﻥ ﺍﺷﮑﺎﻝ‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﯽﺭﺳﺪ‪ .‬ﺍﻣﺎ ﺑﺎﻳﺪ ﺩﻳﺪ ﺍﻳﻦ ﺣﺮﮐﺖ ﻋﻮﺍﻗﺒﯽ ﻫﻢ ﺩﺍﺭﺩ؟! ﺩﺭ ﻭﺿﻌﻴﺖ ﺍﻗﺘﺼﺎﺩﯼ‬ ‫ﻧﻪ ﭼﻨﺪﺍﻥ ﻣﺴﺎﻋﺪ ﮐﻨﻮﻧﯽ‪ ،‬ﻣﺨﺎﻃﺐ ﻣﻮﺳﻴﻘﯽ ﺑﺎ ﺷﻮﺭ ﻭ ﻋﻼﻗﻪ ﺑﺴﻴﺎﺭ ﺑﻠﻴﺖ ﮐﻨﺴﺮﺕ‬ ‫ﺭﺍ ﺗﻬﻴﻪ ﻭ ﺭﺍﻩ ﻃﻮﻻﻧﯽ ﺗﺎ ﺑﺮﺝ ﻣﻴﻼﺩ ﺭﺍ ﻣﯽﭘﻴﻤﺎﻳﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺳــﺎﻟﻦ ﻣﯽﺭﺳــﺎﻧﺪ ﺑﻪ‬ ‫ﺍﻣﻴﺪ ﺁﻧﮑﻪ ﺷﺒﯽ ﺑﻪ ﻳﺎﺩ ﻣﺎﻧﺪﻧﯽ ﺭﺍ ﻃﯽ ﮐﻨﺪ‪ .‬ﺑﺮﺧﯽ ﺍﺯ ﮐﺴﺎﻧﯽ ﮐﻪ ﺑﻪ ﺳﺎﻟﻦ ﻫﻤﺎﻳﺶﻫﺎﯼ‬ ‫ﺑﺮﺝ ﻣﻴﻼﺩ ﺁﻣﺪﻩﺍﻧﺪ ﭘﺲ ﺍﺯ ﻣﺪﺕﻫﺎ ﺗﻮﺍﻧﺴــﺘﻪﺍﻧﺪ ﺑﺎ ﭘﺲ ﺍﻧﺪﺍﺯ ﺑﺨﺸﯽ ﺍﺯ ﺩﺭﺁﻣﺪﻫﺎﯼ‬ ‫ﺧﻮﺩ ﺑﻠﻴﺖ ﺍﻳﻦ ﮐﻨﺴﺮﺕ ﺭﺍ ﺑﺨﺮﻧﺪ‪ .‬ﺍﻣﺎ ﻓﺎﺟﻌﻪ ﺯﻣﺎﻧﯽ ﺭﺥ ﻣﯽﺩﻫﺪ ﮐﻪ ﺧﻮﺍﻧﻨﺪﻩ ﮔﺮﻭﻩ‬ ‫ﺑﺮﺍﯼ ﺗﻘﺴﻴﻢ ﺍﻧﺮﮊﯼ ﺧﻮﺩ ﺑﻴﻦ ﺩﻭ ﺳﺎﻧﺲ‪ ،‬ﺣﺎﺿﺮ ﻧﻴﺴﺖ ﺧﻴﻠﯽ ﺑﻪ ﺧﻮﺩ ﻓﺸﺎﺭ ﺑﻴﺎﻭﺭﺩ‪.‬‬ ‫ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺍﮔﺮ ﺧﻮﺍﻧﻨﺪﻩ ﺗﻤﺎﻡ ﺍﻧﺮﮊﯼ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﯼ ﺳﺎﻧﺲ ﻧﺨﺴﺖ ﺻﺮﻑ‬ ‫ﮐﻨﺪ ﺩﺭ ﺳﺎﻧﺲ ﺩﻭﻡ ﺩﻳﮕﺮ ﺭﻣﻘﯽ ﺑﺮﺍﯼ ﺍﺟﺮﺍ ﻧﺪﺍﺭﺩ‪ .‬ﺧﻮﺍﻧﻨﺪﻩ ﻣﯽﺩﺍﻧﺪ ﮐﻪ ﺑﻪ ﻓﺎﺻﻠﻪ ﻳﮏ‬ ‫ﺳﺎﻋﺖ ﺩﻳﮕﺮ ﻧﻴﺰ ﺑﺎﻳﺪ ﺑﻪ ﺻﺤﻨﻪ ﺑﺎﺯﮔﺮﺩﺩ ﻭ ﻫﻤﺎﻥ ﻗﻄﻌﺎﺕ ﺭﺍ ﺗﮑﺮﺍﺭ ﮐﻨﺪ‪ ،‬ﭘﺲ ﺧﻴﻠﯽ ﺑﻪ‬ ‫ﺧﻮﺩ ﻓﺸﺎﺭ ﻧﻤﯽﺁﻭﺭﺩ‪ ،‬ﺗﺤﺮﻳﺮﻫﺎﯼ ﺁﻭﺍﺯﺵ ﺭﺍ ﺩﺭ ﭘﺮﺩﻩﻫﺎﯼ ﺑﻢ ﺍﺟﺮﺍ ﻣﯽﮐﻨﺪ ﻭ ﮐﻤﺘﺮ ﻭﺍﺭﺩ‬ ‫ﻧﻘﺎﻁ ﺍﻭﺝ ﺁﻭﺍﺯﯼ ﺧﻮﺩ ﻣﯽﺷﻮﺩ‪ .‬ﺧﻮﺍﻧﻨﺪﻩ ﻣﯽﺧﻮﺍﻫﺪ ﺑﺎ ﺣﺮﮐﺎﺕ ﻣﺪﺍﻡ ﺩﺳﺘﻬﺎﻳﺶ‪ ،‬ﮐﻢ‬ ‫ﮐﺎﺭﯼ ﺻﺪﺍﻳﺶ ﺭﺍ ﺟﺒﺮﺍﻥ ﮐﻨﺪ ﺍﻣﺎ ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺣﺎﺿﺮﺍﻥ ﺩﺭ ﺳﺎﻟﻦ ﺗﻔﺎﻭﺕ‬ ‫ﺻﺪﺍﻫﺎ ﺭﺍ ﺩﺭﮎ ﻣﯽﮐﻨﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﻧﻴﺰ ﺑﺨﺸﯽ ﺍﺯ ﺍﻧﺮﮊﯼ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﯼ‬ ‫ﺳﺎﻧﺲ ﺩﻭﻡ ﺣﻔﻆ ﻣﯽﮐﻨﻨﺪ ﻫﺮ ﭼﻨﺪ ﺳﺎﺯﻫﺎﯼ ﺁﻧﻬﺎ ﺑﺮﺍﯼ ﺳﺎﻧﺲ ﺩﻭﻡ ﻧﻴﺰ ﮐﻮﮎ ﻣﯽﺷﻮﻧﺪ‬ ‫ﺍﻣﺎ ﺣﻨﺠﺮﻩ ﺧﻮﺍﻧﻨﺪﻩ ﺍﮔﺮ ﺧﺴﺘﻪ ﺷﻮﺩ ﺩﻳﮕﺮ ﭘﺎﺳﺨﮕﻮ ﻧﻴﺴﺖ‪ .‬ﮐﻨﺴﺮﺕ ﺗﻤﺎﻡ ﻣﯽﺷﻮﺩ‬ ‫ﻭ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺭﻣﻘﯽ ﺑﺮﺍﯼ ﺧﺮﻭﺝ ﺍﺯ ﺳﺎﻟﻦ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺁﻳﺎ ﺁﻧﻬﺎ ﺑﺎﺭ ﺩﻳﮕﺮ ﻭ ﺩﺭ ﺍﺟﺮﺍﻫﺎﯼ‬ ‫ﺑﻌﺪﯼ ﺑﻪ ﺳﺎﻟﻦ ﺑﺎﺯ ﻣﯽﮔﺮﺩﻧﺪ؟!‬

‫ﻓﺮﺍﺳــﻮ‬ ‫ﺑﺮﺍﯼ ‪ ۶۴‬ﺳﺎﻟﮕﯽ ﮐﺮﻳﺲ ﺩﯼﺑﺮﮒ‬ ‫»ﮐﺮﻳــﺲ ﺩﯼﺑــﺮﮒ«‪ ،‬ﺧﻮﺍﻧﻨﺪﻩ ﺳﺮﺷــﻨﺎﺱ ﺩﻧﻴﺎﯼ ﻣﻮﺳــﻴﻘﯽ ﭘﺎﭖ ﺩﻳــﺮﻭﺯ ‪۶۴‬‬ ‫ﺳــﺎﻟﻪ ﺷــﺪ‪» .‬ﮐﺮﻳﺲ ﺩﯼﺑﺮﮒ« ﮐﻮﺩﮐﯽﺍﺵ ﺭﺍ ﺩﺭ ﻗﻠﻌﻪﺍﯼ ﻣﺘﻌﻠﻖ ﺑﻪ ﻗــﺮﻥ ﺩﻭﺍﺯﺩﻫﻢ‬ ‫ﻣﻴــﻼﺩﯼ ﺑﺎ ﮔﻴﺘﺎﺭﯼ ﮐﻪ ﺩﺭ ﺳــﺎﻟﺮﻭﺯ ﺗﻮﻟﺪﺵ ﻫﺪﻳﻪ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺳــﭙﺮﯼ ﮐــﺮﺩ‪ .‬ﺍﻭ ﮐﻪ ﺑﺎ‬ ‫ﺭﻭﺵ ﺁﺯﻣﻮﻥ ﻭ ﺧﻄﺎ ﻧﻮﺍﺧﺘﻦ ﮔﻴﺘﺎﺭ ﺭﺍ ﺁﻣﻮﺧﺖ‪ ،‬ﺑﺎ ﭼﻨﺎﻥ ﻋﺸــﻘﯽ ﺩﺭ ﺁﺭﺍﻳﺸــﮕﺎﻩﻫﺎ ﻭ‬ ‫ﺭﺳــﺘﻮﺭﺍﻥﻫﺎ ﺁﻭﺍﺯﻩﺧﻮﺍﻧﯽ ﺭﺍ ﺩﻧﺒﺎﻝ ﮐﺮﺩ ﮐﻪ ﺳﺎﻝﻫﺎ ﺑﻌﺪ ﺑﻪ ﻳﮑﯽ ﺍﺯ ﺷﻨﺎﺧﺘﻪﺷﺪﻩﺗﺮﻳﻦ‬ ‫ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﭘﺎﭖ ﺟﻬﺎﻥ ﺑﺪﻝ ﺷــﺪ‪ .‬ﺑﻪ ﮔﺰﺍﺭﺵ ﺍﻳﺴــﻨﺎ ﮐﺮﻳﺴــﺘﯽ ﺩﯼﺑﺮﮒ ﺑﺎ ﻧﺎﻡ ﮐﺎﻣﻞ‬ ‫»ﮐﺮﻳﺴﺘﻮﻓﺮ ﺟﺎﻥ ﺩﻳﻮﻳﺴﻮﻥ« ﺩﺭ ﺭﻭﺯ ‪ ۱۵‬ﺍﮐﺘﺒﺮ ‪ ۱۹۴۸‬ﺩﺭ ﺁﺭﮊﺍﻧﺘﻴﻦ ﻣﺘﻮﻟﺪ ﺷﺪ‪ .‬ﭘﺪﺭﺵ‬ ‫»ﭼﺎﺭﻟﺰ ﺩﻳﻮﻳﺴﻮﻥ« ﺩﻳﭙﻠﻤﺎﺕ ﺍﻧﮕﻠﻴﺴــﯽ ﻭ ﻣﺎﺩﺭﺵ »ﻣﺎﻭﯼ ﺍﻣﻴﻠﯽ ﺩﯼﺑﺮﮒ«‪ ،‬ﻣﻨﺸﯽ‬ ‫ﻭﺯﺍﺭﺕ ﺍﻣــﻮﺭ ﺧﺎﺭﺟﻪ ﺍﻳﺮﻟﻨﺪ ﺑﻮﺩ‪ .‬ﻧﻴــﺎﮐﺎﻥ »ﮐﺮﻳﺲ« ﺍﺯ ﺟﻤﻠﻪ ﺧﺎﻧﻮﺍﺩﻩﻫﺎﯼ ﺍﺻﻴﻞ ﻭ‬ ‫ﺑﺮﺟﺴﺘﻪ ﺍﺭﻭﭘﺎ ﺑﻮﺩﻧﺪ ﮐﻪ ﺑﻌﺪﻫﺎ ﺑﻪ ﺍﻳﺮﻟﻨﺪ ﻣﻬﺎﺟﺮﺕ ﮐﺮﺩﻧﺪ‪ .‬ﺷﺠﺮﻩ ﺧﺎﻧﻮﺍﺩﮔﯽ ﮐﺮﻳﺲ‬ ‫ﺑﻪ ﺭﻳﭽﺎﺭﺩ ﺷﻴﺮﺩﻝ‪ ،‬ﭘﺎﺩﺷﺎﻩ ﺍﻧﮕﻠﺴﺘﺎﻥ ﺑﺮﻣﯽﮔﺮﺩﺩ‪ .‬ﮐﻮﺩﮐﯽ ﮐﺮﻳﺲ ﺩﯼﺑﺮﮒ ﺑﻪﺧﺎﻃﺮ ﺷﻐﻞ‬ ‫ﺩﻳﭙﻠﻤﺎﺗﻴﮏ ﭘﺪﺭ ﺑﻪ ﻣﺴﺎﻓﺮﺕ ﻭ ﮐﺴﺐ ﺗﺠﺮﺑﻪ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﮔﺬﺷﺖ ﻭ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺩﺭ‬ ‫ﮐﺸﻮﺭﻫﺎﯼ ﻣﺨﺘﻠﻔﯽ ﭼﻮﻥ ﻣﺎﻟﺖ‪ ،‬ﻧﻴﺠﺮﻳﻪ ﻭ ﺯﺋﻴﺮ ﺑﺰﺭﮒ ﺷﺪ‪ .‬ﻫﻨﮕﺎﻣﯽﮐﻪ ‪ ۱۲‬ﺳﺎﻟﻪ ﺑﻮﺩ‪،‬‬ ‫ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺑﻪ ﺍﻳﺮﻟﻨﺪ ﺭﻓﺘﻨﺪ‪ ،‬ﺟﺎﻳﯽﮐﻪ ﻫﻨﻮﺯ ﻫﻢ ﮐﺮﻳﺲ ﺩﯼﺑﺮﮒ ﺩﺭ ﺁﻧﺠﺎ ﺯﻧﺪﮔﯽ ﻣﯽﮐﻨﺪ‪.‬‬ ‫ﺩﺭ ﺳﺎﻝ‪ ۱۹۶۰‬ﭘﺪﺭﺵ ﻳﮏ ﻗﻠﻌﻪ ﻗﺪﻳﻤﯽﺩﺭ ﻭﮐﺴﻔﻮﺭﺩ ﺑﻪﻧﺎﻡ »ﺑﺎﺭﮔﯽﮐﺎﺳﻞ« ﺭﺍ ﮐﻪ ﻗﺪﻣﺖ‬ ‫ﺁﻥ ﺑﻪ ﻗﺮﻥ ﺩﻭﺍﺯﺩﻫﻢ ﻣﻴﻼﺩﯼ ﺑﺎﺯﻣﯽﮔﺸــﺖ‪ ،‬ﺧﺮﻳﺪﺍﺭﯼ ﮐﺮﺩ ﻭ ﺁﻥ ﺭﺍ ﺑﺮﺍﯼ ﺳــﮑﻮﻧﺖ‬ ‫ﺧﺎﻧﻮﺍﺩﻩ ﺧﻮﺩ ﺑﺎﺯﺳﺎﺯﯼ ﮐﺮﺩ‪.‬‬ ‫ﺗﺤﺼﻴﻼﺕ ﻭ ﺍﻭﻟﻴﻦ ﮔﺎﻡﻫﺎ‬ ‫ﻭﯼ ﺩﻭﺭﺍﻥ ﺍﺑﺘﺪﺍﻳﯽ ﺭﺍ ﺩﺭ ﻣﺪﺭﺳﻪ »ﻣﺎﺭﻟﺒﻮﺭﻭ« ﺳﭙﺮﯼ ﮐﺮﺩ ﻭ ﺳﭙﺲ ﺍﺯ ﮐﺎﻟﺞ ﻣﺸﻬﻮﺭ‬ ‫»ﺗﺮﻳﻨﻴﺘﯽ« ﺩﺭ ﺩﻭﺑﻠﻴﻦ ﺩﺭ ﺭﺷﺘﻪﻫﺎﯼ ﺯﺑﺎﻥ ﻭ ﺍﺩﺑﻴﺎﺕ ﺍﻧﮕﻠﻴﺴﯽ‪ ،‬ﺯﺑﺎﻥ ﻓﺮﺍﻧﺴﻮﯼ ﻭ ﺗﺎﺭﻳﺦ‬ ‫ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻞ ﺷﺪ‪ .‬ﻫﻨﮕﺎﻣﯽﮐﻪ ﻭﯼ ﻣﺸﻐﻮﻝ ﺗﺤﺼﻴﻞ ﺩﺭ ﮐﺎﻟﺞ ﺑﻮﺩ‪ ،‬ﺷﺮﻭﻉ ﺑﻪ ﻧﻮﺷﺘﻦ‬ ‫ﺗﺮﺍﻧﻪﻫﺎﯼ ﭘﺎﭖ ﮐﺮﺩ‪ .‬ﻧﺨﺴﺘﻴﻦ ﺗﺮﺍﻧﻪ ﺍﻭ ﮐﻪ »‪ «THE WASTE OF LOVE‬ﻧﺎﻡ‬ ‫ﺩﺍﺷﺖ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﺳﺮﻭﺩﻩ ﺷﺪ‪ .‬ﮐﺮﻳﺲ ﺩﺭ ﺳﺎﻝ ‪ ۱۹۷۱‬ﺑﺮﺍﯼ ﭘﻴﺪﺍ ﮐﺮﺩﻥ ﻳﮏ ﺷﻐﻞ‬ ‫ﻣﻨﺎﺳــﺐ ﺩﺭ ﻣﻮﺳﻴﻘﯽ ﺑﻪ ﻟﻨﺪﻥ ﺳــﻔﺮ ﮐﺮﺩ‪ .‬ﺍﻭ ﺩﺭ ﻳﮏ ﺭﺳﺘﻮﺭﺍﻥ ﻭ ﺁﺭﺍﻳﺸﮕﺎﻩ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﺧﻮﺍﻧﻨﺪﻩ ﺷــﺮﻭﻉ ﺑﻪ ﮐﺎﺭ ﮐﺮﺩ ﻭ ﺍﺯ ﻃﺮﻑ ﻳﮑﯽ ﺍﺯ ﺩﻭﺳــﺘﺎﻧﺶ ﮐﻪ ﺑﻪ ﺗﺎﺯﮔﯽ ﺭﺳﺘﻮﺭﺍﻧﯽ‬ ‫ﺩﺭ ﺩﻭﺑﻠﻴﻦ ﺗﺄﺳﻴﺲ ﮐﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﭘﻴﺸﻨﻬﺎﺩ ﮐﺎﺭ ﺩﺭﻳﺎﻓﺖ ﮐﺮﺩ ﻭ ﺑﺮﺍﯼ ﻣﻴﻬﻤﺎﻧﺎﻧﯽ ﮐﻪ ﻣﺸﻐﻮﻝ‬ ‫ﺻﺮﻑ ﻏﺬﺍ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﻮﺳﻴﻘﯽ ﻣﯽﻧﻮﺍﺧﺖ‪ .‬ﻭﯼ ﺑﻌﺪﺍﺯﻇﻬﺮ ﺭﻭﺯﻫﺎﯼ ﺷﻨﺒﻪ ﺗﻤﺎﻡ ﻭﻗﺖ ﺧﻮﺩ‬ ‫ﺭﺍ ﺩﺭ ﻓﺮﻭﺷﮕﺎﻩ ﺳﯽﺩﯼ ﻭ ﮐﺎﺳﺖ ﻧﺰﺩﻳﮏ ﺧﺎﻧﻪ ﺻﺮﻑ ﮔﻮﺵﺩﺍﺩﻥ ﺑﻪ ﺗﺮﺍﻧﻪﻫﺎﯼ ﺟﺪﻳﺪ‬ ‫ﻣﯽﮐﺮﺩ‪.‬‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎﯼﺣﺮﻓﻪﺍﯼ‬ ‫ﮐﺮﻳﺲ ﺩﯼﺑﺮﮒ ﺩﺭ ﺳــﺎﻝ ‪ ۱۹۷۴‬ﭘﺲ ﺍﺯ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻠﯽ ﺍﺯ ﮐﺎﻟﺞ ﺑﻪ ﻫﻤﺮﺍﻩ ﮔﺮﻭﻩ‬ ‫ﻣﻌﺘﺒﺮ ﻭ ﻣﺸﻬﻮﺭ ﺍﻳﺮﻟﻨﺪﯼ »ﻫﻮﺭﺱﻟﻴﭙﺲ« ﺩﺭ ﻳﮏ ﺗﻮﺭ ﺑﻴﻦﺍﻟﻤﻠﻠﯽ ﺷﺮﮐﺖ ﮐﺮﺩ ﻭ ﺑﺎ ﺩﻭ‬ ‫ﺗﻬﻴﻪﮐﻨﻨﺪﻩ ﻣﻌﺘﺒﺮ ﻣﻮﺳﻴﻘﯽ‪ ،‬ﺩﺍﮒ ﻓﻠﺖ ﻭ ﮔﺎﯼ ﻓﻠﭽﺮ ﺁﺷﻨﺎ ﺷﺪ ﻭ ﺑﺎ ﮐﻤﮏ ﺁﻥﻫﺎ ﻗﺮﺍﺭﺩﺍﺩﯼ ﺭﺍ‬ ‫ﺑﺎ ﺷﺮﮐﺖ »‪ «A&M‬ﺍﻣﻀﺎ ﮐﺮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻥ ﮔﺮﻭﻩ »ﺳﻮﭘﺮﺗﺮﻣﭗ« ﺭﺍ ﺩﺭ ﺗﻮﺭ ﺟﺪﻳﺪﺗﺮﻳﻦ‬ ‫ﺁﻟﺒﻮﻡﺷﺎﻥ ﺑﻪﻧﺎﻡ »ﺟﻨﺎﻳﺖ ﻗﺮﻥ« ﻫﻤﺮﺍﻫﯽ ﮐﺮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻥ ﺑﻮﺩ ﮐﻪ ﻧﺎﻣﺶ ﺭﺍ ﺑﻪ ﮐﺮﻳﺲ‬ ‫ﺩﯼﺑﺮﮒ ﺗﻐﻴﻴﺮ ﺩﺍﺩ ﻭ ﺩﺭ ﺳﺎﻝ ‪ ۱۹۷۵‬ﺁﻣﺎﺩﻩ ﺍﻧﺘﺸﺎﺭ ﺍﻭﻟﻴﻦ ﺁﻟﺒﻮﻣﺶ ﺑﻪﻧﺎﻡ »ﻓﺮﺍﺳﻮﯼ ﺍﻳﻦ‬ ‫ﺩﻳﻮﺍﺭﻫﺎﯼ ﻗﻠﻌﻪ« ﺷﺪ‪.‬‬ ‫ﮐﺮﻳﺲ ﺩﯼﺑﺮﮒ ﻭ ﺍﻳﺮﺍﻥ‬ ‫ﺍﻳﻦ ﺧﻮﺍﻧﻨﺪﻩ ﭘﺎﭖ ﺩﺭ ﺩﺳﺎﻣﺒﺮ ﺳﺎﻝ ‪) ۲۰۰۷‬ﺧﺮﺩﺍﺩ ‪ (۱۳۸۷‬ﺳﻔﺮﯼ ﺑﻪ ﺍﻳﺮﺍﻥ ﺩﺍﺷﺖ‪.‬‬ ‫ﺍﻳﻦ ﺳﻔﺮ ﺑﻪ ﻣﻨﻈﻮﺭ ﺁﻣﺎﺩﻩﺳﺎﺯﯼ ﺟﻬﺖ ﺑﺮﮔﺰﺍﺭﯼ ﮐﻨﺴﺮﺕ ﻭﯼ ﺑﻪ ﺍﻳﺮﺍﻥ ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﮐﺮﻳﺲ‬ ‫ﺩﺭ ﺍﻳﻦ ﺳﻔﺮ ﺑﺎ ﮔﺮﻭﻩ ﻣﻮﺳﻴﻘﯽ »ﺁﺭﻳﻦ« ﻫﻤﺮﺍﻩ ﺷﺪ ﻭ ﺗﺮﺍﻧﻪ ﻣﺸﺘﺮﮎﺷﺎﻥ ﺑﻪ ﻧﺎﻡ »ﺩﻭﺳﺘﺖ‬ ‫ﺩﺍﺭﻡ« ﺩﺭ ﺑﻬﺎﺭ ﺳﺎﻝ ‪ ۱۳۸۷‬ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺍﻳﻦ ﺁﻫﻨﮓ ﮐﻪ ﺑﺮ ﭘﺎﻳﻪ ﺁﻫﻨﮓ »‪The‬‬ ‫‪) «Word I Love You‬ﺍﺯ ﺳــﺎﺧﺘﻪﻫﺎﯼ ﮐﺮﻳﺲ ﺩﯼﺑﺮﮒ( ﺗﻨﻈﻴﻢ ﺷــﺪ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ‬ ‫ﺍﺟﺮﺍﯼ ﺟﺪﻳﺪﯼ ﺍﺯ ﺁﻫﻨﮓ ﮐﺮﻳﺲ ﺍﺳﺖ ﮐﻪ ﺑﻌﻀﯽ ﺍﺯ ﻗﺴﻤﺖﻫﺎﯼ ﺁﻥ ﺑﺎ ﺗﺮﺟﻤﻪ ﻓﺎﺭﺳﯽ‬ ‫ﺗﻮﺳﻂ ﮔﺮﻭﻩ ﺁﺭﻳﺎﻥ ﺧﻮﺍﻧﺪﻩ ﺷﺪ‪ .‬ﺍﻳﻦ ﺁﻫﻨﮓ ﺑﺎ ﻧﺎﻡ »ﻧﻮﺭﯼ ﺗﺎ ﺍﺑﺪﻳﺖ )ﺩﻭﺳﺘﺖ ﺩﺍﺭﻡ(«‬ ‫ﺩﺭ ﭼﻬﺎﺭﻣﻴﻦ ﺁﻟﺒﻮﻡ ﺁﺭﻳﺎﻥ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺑﯽﺗﻮ ﺑﺎﺗﻮ« ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﻭﯼ ﮐﻪ ﺩﺭ ﮐﻨﺴﺮﺗﯽ ﻣﺸﺘﺮﮎ‬ ‫ﺑﺎ ﮔﺮﻭﻩ ﺁﺭﻳﺎﻥ ﻫﻤﻨﻮﺍ ﺷﺪ‪ ،‬ﺩﺭ ﻣﺼﺎﺣﺒﻪﺍﯼ ﻣﻄﺒﻮﻋﺎﺗﯽ ﮔﻔﺖ‪ :‬ﺍﺯ ﺯﻣﺎﻧﯽ ﮐﻪ ﭘﺴﺮﯼ ﮐﻮﭼﮏ‬ ‫ﺑﻮﺩﻡ‪ ،‬ﺩﻳﺪﻥ ﺍﻳﺮﺍﻥ ﺑﺮﺍﻳﻢ ﻳﮏ ﺭﻭﻳﺎ ﺑﻮﺩ‪ .‬ﺁﻣﺪﻧﻢ ﺑﻪ ﺍﻳﻨﺠﺎ ﻫﻴﭻ ﺩﻟﻴﻞ ﺳﻴﺎﺳﯽ ﻧﺪﺍﺭﺩ‪.‬‬


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