کارکردهای چندگانه‌ی ساز کرنا در آئین‌های مذهبی و سوگواری منطقه‌ی شرق گیلان

هدف از پژوهش حاضر بررسی نقش کرنای گیلان و کارکردهای چندگانه‌ی آن در آئین‌های شرق گیلان است. امروزه حضور کرنای گیلان با مجموعه‌ای از کنش‌های ذهنی، اعتقادی و تاریخی همراه است. در این مقاله با استفاده از گفتمانی بینامتنی تلاش شده است این کنش‌ها با خوانشی نو واکاوی شده و کارکردها و مفاهیم چندلایه‌ی این ساز شناسایی، دسته‌بندی و تحلیل شوند. مسئله‌ی اصلی پژوهش حاضر تمرکز بر کارکردهای مختلف این ساز در بخش‌های اعتقادی اجتماعی، نمادین، سخن‌گویی و کارکرد صوتی است. در کارکرد اعتقادی، این ساز صرفاً ابزاری موسیقایی نیست، بلکه دارای جنبه‌های اعتقادی و اجتماعی از جمله مشارکت در تشکل‌های دینی، استمرار آیینی مذهبی و برآورده کردن نذر و حاجتِ افراد است. عملکرد سخن‌گویی کرنای گیلان در اجرای قالب‌های ریتمیکِ اشعار ابیات قابل تبیین است. از کارکردهای نمادین آن می‌توان به مفاهیمی چون مردانگی، قدرت، رساندن پیام به مکانی غیرمادی، نمادهای مکانی و زمانی اشاره کرد. از ورای این کارکردهای چندگانه نشان داده می‌شود که چگونه یک ابزار تولید صدا در طی تاریخ با حفظ استعاره‌های کارکردی خود ماندگار شده و با سازگاری با بافتِ اجرایی جدید، بقای خود را تضمین کرده است. تحقیق حاضر به شیوه‌ی کیفی و گردآوری اطلاعات متکی بر پژوهش‌های میدانی و کتابخانه‌ای بوده است.

Multiple Functions of Karna in Religious Rituals and Mourning in Eastern Guilan, mourning

The aim of this study was to investigate the role of Guilan’s karna and its multiple functions in the rituals on the east of Guilan. Guilan’s karna is associated with a set of mental, theological, and historical actions. In this study, using an intertextual discourse, it was attempted to analyze these actions with a new reading. Therefore, it was attempted to identify, categorize, and analyze the multilayered functions and concepts of this musical instrument. According to the findings of the present study, four general functions were identified for karna: 1 the socioreligious function, 2 the symbolic function, 3 the expressive function, and 4 the acoustic function. In addition to the acoustic function of karna as a ’messenger’, other functions have always guaranteed its life and survival. As for the socioreligious function, it is not a mere musical instrument, but rather, it contains theological elements, including participation in religious associations, the continuation of a religious tradition, and fulfillment of people’s vows. These aspects create an extramusical functional identity for karna. The next functional aspect of karna is its expressive or ’speech’ function. Karna can produce only two or three tones and lacks a special tones order in terms of melodic motion; however, in terms of rhythm, specific rhythmic figures are usually played by the musicians. Although for the crosscultural audience, these rhythmic figures with high dynamics have no specific meaning except reference to the historical realities and a sound effect, for the players of karna, each rhythmic figure is equivalent to a certain verse of a wellknown poem recited during mourning ceremonies. The rhythmic figures are important and symbolic, and the players know what rhythmic figure should be played in front of each mosque or graveyard depending on the time. For example on Tasu’a or Ashura, rhythmic figures that are equivalent to certain verses of a wellknown poem are performed. These codes are unknown to the general audience. In addition, the symbolic functions of karna can be studied through semiotics and symbolism. Among its symbolic functions are concepts like bravery, power, majesty, and delivery of a message to immortal and heavenly places, and spatial symbols such as the direction of playing the instrument, and temporal symbols related to Muharram rituals. These multiple functions show how a musical instrument has survived while retaining its functional metaphors, and has guaranteed its survival by adapting to new performance conditions. Guilan’s karna is the prime example of an object that has substituted its role as the messenger of a terrestrial event (the war) with the messenger of a sacred event (used in the religious background), and has managed to survive after a metamorphosis. In its two distinct lifetimes (from a martial instrument to a sacred one), the musical aspect of karna has always been affected by its symbolic and social functions. From an intercultural perspective, karna is not regarded as a mere wind instrument in a classified organological system, but rather, it is an identity element that could deliver a message with semantic, verbal, and social loads. Data were collected using field and library studies.