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جلد نخست مجموعه مقالات دربارة سنتور، به نگارش، گردآوري، ويرايش و تعليقات شهاب مِنا از سوي انتشارات سوره مهر منتشر شد.
در اين مجموعه- که چون دايرهالمعارفي دربارة سنتور محسوب ميشود- براي نخستينبار يادداشتها، مقالات نگاشتهشده و نيز اطلاعات شفاهي زبدهترين استادان و موسيقيدانان معاصر دربارة جنبههاي مختلف ساز سنتور از سال 1325 تا 1388 گردآوري و شرح شده است و همچنين مقالات درخور ديگري که حاوي تحقيقات جديد است در تکميل مطالب پيشين براي نخستينبار نگاشته شده و ارائه گرديده است. بايد گفت در روند تحقيق دربارة موسيقي ايراني
مجموعة حاضر، با کيفيت و کميّت فعلي، نخستين اثر منتشرشده است که اختصاصاً به مطالعه و بررسي جنبههاي مختلف يک ساز ملي ميپردازد. ساختار جلد اول اين مجموعه در هشت فصل تنظيم شده و به بررسي کليات (تعاريف، تشريح ساختار ظاهري، انواع و...)، تاريخچة سنتور در ايران (با ارائة تحقيقات جديد دراينباره)، تشريح و تطابق گونههاي سنتور در ديگر کشورهاي شرق و غرب جهان، مبنا و اقسام کوکهاي کلاسيک و ابداعي براي سنتور (بهويژه در مرکبنوازي) و نحوة تطابق کوک آن با ديگر سازها، بررسي تکنيکهاي نوازندگي و طرز نواخت، نحوة آموزش و مشکلات آموزشي
هنرجويان (عادي، چپدست و نابينا)، بررسي علايم نتنويسي سنتور و ارائة روشهاي پيشنهادي دراينباره، و تبيين روشها و ظرايف ساخت سنتور ميپردازد.
نويسندگان مقالات جلد اول: ابوالحسن صبا، حسين صبا، داريوش صفوت، فرامرز پايور، امينالسادات شهميري، مهدي فروغ، سيروس ساغري، ميلاد کيايي، کامبيز روشنروان، رضا مهدوي، يعقوب ثروين، سورنا صفاتي، کيوان فرزين، پويا سرايي و شهاب مِنا.
مطالعة اين کتاب که در 560 صفحة رحلي، جلد گالينگور و قيمت 9400 تومان روانة بازار نشر شده است به عموم علاقهمندان موسيقي ايراني، بهويژه دوستداران سنتور توصيه ميشود.
تلفن مرکز پخش:
شرکت انتشارات سوره مهر: تلفن 66460993 و فکس: 66469951 (با امکان ارسال کتاب به تهران و شهرستان ها بدون هزينه ارسال)، موسيقی عارف: 33917784
سايت انتشارات سوره مهر: http://www.iricap.com
Essays on the Santur (Vol. 1) Published.
Compiled & Edited by Shahab Mena
Publisher: Soureh Mehr Publishing House
Tehran, 2010
Seeking to encourage and assist in the preservation and renewal of knowledge on the Persian Santur, this book reproduces an impressive collection of articles written by successful performers and respected teachers of the Santur over the past fifty years.
While methods and instruction books have been readily available on the various instruments of Persian Music over the years, there has never before been a book like this one, providing valuable literature in the form of an anthology on any single instrument.
The topics included here are wide ranging. They discuss and explore various aspects of technique, tone production, performance, tuning, history, pedagogy and construction. They include new, old and unique ideas many of which approach a common focal point through different tangents. Each section covers a particular topic discussed by several authors presenting different view points or even opposing views. Section I covers introductory articles on the general aspects of the instrument, covering issues such as acoustical characteristics and hammering techniques. Section II is a historiography which presents two articles one of which is ground breaking in that it traces the Iranian origins of the instrument to the more recent Qajar period rather
than previous assumptions on its ancient ancestry. Section III provides articles on the other types of Santur in the world, presenting comparative information about their range, tuning, construction, and even their role in the musical traditions of their own countries. Moving from these introductory topics, section IV is the most significant and prolific section of the book and it provides information on widespread tuning systems as well as newly discovered systems by contemporary performers. The final article in this section introduces a new technique for modal centonization whereby the author provides valuable transcriptions intended to be used for performance.
Considering the lack of attention paid to performance styles and issues of technique in contemporary literature, Section V devotes itself to a pioneering article written some fifty years ago on the specific aspects of performance ranging from technical issues such as sonority and articulation to left and right hammering techniques, to improvisation and finally, the use of Santur in orchestral works. Section VI is groundbreaking in the presentation of pedagogical issues that are critical yet new. Ranging from memorization to lefthanded-ness, to the visually impaired, this section presents a collection of articles that deserve due recognition. The two articles presented in Section VII initiate awareness on the importance of the modes of notation
for the Santur. Presenting original information, the two articles each propose a new method of notation that could play an important role in propagating appropriate performance techniques on the instrument. Section VIII and the final section of the book, presents three different views on the construction of the instrument while addressing questions on calculation, proportion, bridging and stringing techniques.
Soureh Mehr Publishing House
Address: No. 3, Jamshid Jam Lane , Rasht st., Hafez Ave. , Tehran , Iran
P.O Box: 15815-1144
Fax: +9821 66469951, Tel: +9821 66460993
Website: http://www.iricap.com
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