سیر تحول وام‌واژۀ جاز در موسیقی ایران

سابقۀ استفاده از وام‌واژه‌ها در ایران به سال‌ها قبل بازمی‌گردد و نمونه‌هایش خصوصاً در موسیقی، فراوان استفاده می‌شود. این در حالی است که میان وام‌واژه‌های غربی، «جاز» سرنوشت متفاوتی را تجربه می‌کند و بستر تاویل‌های گوناگونی می‌شود. این پژوهش با روش توصیفی تحلیلی و با تکیه بر مکتوبات، به دنبال شناسایی مفاهیم مرتبط با جاز و یافتن زمینه های بروز آنه است. نتایج نشان می دهد، اگرچه از بحبوحۀ مدرن سازی و غربی سازی در ایران تا کنون، واژۀ جاز گستره ای از مفاهیم، همچون موسیقیِ عامه پسند اروپایی، گونه ای تجربی، ساز درامز، موسیقیِ عامه پسند ایرانی و نیز مفهومِ جوهریِ جاز را نمایندگی می کند، اما با آگاهی موسیقی دانان، به مرور اطلاق های بیگانه از میان می روند. طی فرگشت موسیقایی عواملی مانند آمریکاستیزی، سنت گرایی، ذهن گرایی، فقدان حمایت سازمانی، و همچنین غرابت های موسیقایی، زمینۀ چنین تلقی هایی را فراهم می آورد. در میان انواع اطلاق ها «جاز ایرانی » تنها اصطلاحی است که البته با تغییر کارکرد، در هر دو بازۀ پیش و پس از انقلاب اسلامی در ادبیات موسیقی ایران باقی می ماند. با توجه به اهمیت موسیقی موسوم به جاز ایرانی در دهه های چهل و پنجاه خورشیدی، مقایسه اش با جاز آمریکایی بخش دیگری از پژوهش حاضر را تشکیل می دهد و یافته ها وجود پار های شباهت ها مانند استفاده از سازهای بادی به شیوۀ بیگ بندهای جاز، چگونگیِ نگارش آکوردها و برخی موارد دیگر را آشکار می سازد.

the evolution of the loanword jazz in music of iran

the history of using loanwords in iran goes back many years, and examples of such loans, especially in music, are abundant. among western loanwords, “jazz” experiences a unique fate and becomes the basis for various interpretations. in this research, which relies on written materials in a descriptive-analytical method, we seek answers to the following questions: what concepts are associated with jazz over time, and what factors have contributed to the inconsistent interpretations of jazz during its musical evolution?four stages organize the present research. first, the types of terms related to jazz are introduced, and the characteristics of each interpretation are explained. their description and classification facilitate the recognition of the areas related to it. in the second stage, the replacement of terms with other equivalents is analyzed, and their synonyms over time are discussed. in the third stage, the reasons and contexts for the emergence of various terms for jazz are introduced and musical and nonmusical issues are analyzed. in the fourth stage, considering iranian jazz as a term that has remained in music literature for decades - despite changing functions - it is compared with american jazz with a technical approach. their similarities and differences are discussed in order to find a relationship.the present study revealed that the loanword jazz in iranian music literature represented five concepts: 1. jazz in the sense of european popular music 2. jazz in the sense of an experimental genre 3. jazz in the sense of drums 4. jazz in the sense of iranian popular music 5. jazz in the sense of real jazz. although some irrelevant perceptions persisted for decades, a deeper understanding of the characteristics of jazz by iranian musicians - especially from the 1990s onwards - other equivalents replaced the irrelevant interpretations. iranian jazz is the only term that, although with a change in function, remained in iranian music literature during both periods before and after the islamic revolution of iran. another part of the present study shows that certain conditions provide grounds for the emergence of different interpretations of jazz. the confluence of issues such as anti-americanism, traditionalism, subjectivism, lack of coherent support from iranian organizations and the academic system, as well as musical differences, created a situation that contributed to the uneven understanding of jazz and ultimately paved the way for the emergence of discordant and sometimes contradictory concepts of this loanword. the findings also show similarities between so-called iranian jazz (in the 1960s and 1970s) and american jazz. although the most obvious overlaps do not go beyond the level of writing chords and using a lead sheet, the use of wind instruments in the style of big jazz bands, entrusting the harmonic part to the musicians, using melodic patterns derived from the blues scale, adding sixth, seventh, and ninth intervals to the structure of major and minor triads, and the use of cluster voicing indicate a more profound similarity, the extent of which, of course, requires further research.