Sociology of Rival Music Genres and Music Consumption in Post-1979 Revolution Iranian Society

IF 0.8 3区社会学 Q2 AREA STUDIES

Middle East Critique Pub Date : 2023-10-20 DOI:10.1080/19436149.2023.2266869

Masoud Kowsari

{"title":"Sociology of Rival Music Genres and Music Consumption in Post-1979 Revolution Iranian Society","authors":"Masoud Kowsari","doi":"10.1080/19436149.2023.2266869","DOIUrl":null,"url":null,"abstract":"AbstractThis article examines the genesis of and competition among rival music genres in post-revolutionary Iran. Rival genres (pop music, rap music, rock music, traditional music, etc.) are genres that gradually emerged and developed since the 1920s. Relying on Pierre Bourdieu’s theory of cultural field I point out the important music genres in post-revolutionary Iran that act as a means of expressing conflict over the borders of the field, and why in this field, contrary to Bourdieu’s theory, instead of a bipolar situation, a multi-genre situation prevails. Then, with the data obtained from my previous research and that of others who mostly live in Iran, I try to depict a picture of music consumption based on the rival music genres in the field and show how, contrary to the ideals and slogans of the Islamic Revolution, under the influence of global youth culture, the consumption of popular music has become the dominant consumption.Key Words: Culturefield of music productionglobal youth cultureIranian culturemusic consumptionmusic genresmusic tastepopular musicpost-revolutionary Iranian culture Disclosure StatementThe author reported no conflict of interests in the research for or writing of this article.Notes1 P. Bourdieu (Citation1993) The Field of Cultural Production: Essays on Art and Literature (New York: Columbia University Press), p. 42.2 M. Mohammadi (Citation2017) Modal Modernities: Formations of Persian Classical Music and the Recording of a National Tradition (Create Space: An Amazon.com Company), p. 88.3 J. During (2004[1984]) Sonnat va Tahavol dar Mosigi-ye Irani [La musique iranienne: Tradition et évolution, Paris: Editions Recherche sur les civilisations] (Tehran: Toos Publication), p. 31.4 L. C. Miller (Citation1999) Music and Song in Persia: The Art of Avaz (London: Curzon Press); L. Nooshin (Citation1996) The Processes of Creation and Recreation in Persian Classical Music, Unpublished Doctoral thesis, Goldsmiths’ College.5 Miller, Music and Song in Persia: The Art of Avaz, p. 34.6 Ibid, p. 52.7 Ibid, p. 29.8 H. Salehyar (Citation2015) The Revival of Iranian Classical Music during the Second Pahlavi Period: The Influence of the Politics of “Iranian-ness”, Unpublished Doctoral thesis, Department of Music, University of Alberta.9 M. Gelbart (Citation2021) Romanticism, the Folk, and Musical Nationalisms, in: Benedict Tylor (ed) The Cambridge Companion to Music and Romanticism, pp. 74–91 (Cambridge: Cambridge University Press).10 M. Shahabi (Citation2003) Jahani-shodan-e Javani: Khorde Farhangha-ye Javani dar Asr-e Jahani-shodan [Globalization of Youth: Youth Subcultures in the Age of Globalization], Quarterly Journal of Youth Studies, 1(5), p. 9.11 G. Rekabtalaei (Citation2019) Iranian Cosmopolitanism: A Cinematic History, pp. 184–231 (Cambridge: Cambridge University Press).12 N. Siamdoust (Citation2017) Soundtrack of the Revolution: The Politics of Music in Iran (Stanford University Press), p. 46.13 A. Youssefzadeh (Citation2000) The Situation of Music in Iran since the Revolution: The Role of Official Organizations Source, British Journal of Ethnomusicology, 9(2), p. 36.14 Siamdoust, Soundtrack of the Revolution: The Politics of Music in Iran, p. 250.15 During, Sonnat va Tahavol dar Mosigi-ye Irani, p. 31.16 F. Hemmasi (2013) Intimating Dissent: Popular Song, Poetry, and Politics in Pre-Revolutionary Iran, Ethnomusicology, 57(1), p. 57.17 A. Baghernia Abkenar (Citation2021) Playlist We Know: The Contribution of Pre-Revolution Songs to Building Collective Representation in Iranian Movements, Dissertation, Faculty of Social Studies, Masaryk University, Brno, p. 37.18 H. Bastan (Citation2019) Recent Experimental Electronic Music Practices in Iran: An Ethnographic and Sound-Based Investigation, Dissertation, Sonic Arts Research Centre, Belfast: Queen’s University.19 A. Youssefzadeh (Citation2000) The Situation of Music in Iran since the Revolution: The Role of Official Organizations Source, British Journal of Ethnomusicology, 9(2), p. 36.20 H. Khojasteh (Citation2010) Konesh-e Jamei-ye Karbord-e Mosigi dar Radio [Collective Action in Applying Music in Radio], Quarterly Journal of Communication Research, 17(63), p. 54.21 L. Nooshin (Citation2009) ‘Tomorrow Is Ours’: Re-Imagining Nation, Performing Youth in the New Iranian Pop Music, in: L. Nooshin, ed., Music and the Play of Power in the Middle East, North Africa and Central Asia, p. 246 (Aldershot: Ashgate).22 M. Maghazei (Citation2014) Trends in contemporary conscious music in Iran, LSE Middle East Centre paper series, No. 3, p. 1.23 P. Javadzadeh, M. Kowsari, M. Ameri Shahrabi, A. Abtahi (Citation2021) Maghooleha-ye Tozi-e Mosigi, [Cultural Categories of Music Distribution], Journal of Iranian Cultural Research, 14(2), pp. 71–93; P. Javadzadeh, M. Kowsari, M. Ameri Shahrabi (Citation2020) Maghooleha-ye Tolid-e Mosigi Melli Iran, [Cultural Categories of Production of Iranian National Music], Quarterly Journal of Iranian Association for Cultural Studies and Communication, 16(60), pp. 155–178.24 V. Ghasemi (Citation2002) Sanjesh-e Negaresh-e Javanan be Anva-e Mosighi dar Shahr-e Esfahan [Measuring Young People’s Attitude towards Different Types of Music in Isfahan City], Farhang-e Isfahan, Special Issue, p. 78.25 V. Ghasemi & S. A. Mirzaei (Citation2006) Javanan va Hanjarha-ye Rasmi va Geyr-e Rasmi-ye Mosigi pap [Youth and Formal and Informal Norms of Pop Music: A Study in the Expression of Youth in Isfahan], Journal of Social Sciences Letter, 28(2), pp. 98–122.26 Ibid, pp. 114–115.27 R. Samim &V. Ghasemi (Citation2011) Gerayesh be Masraf-e Gooneha-ye Mosigi Mardom-pasan va Mizan-e Parkhashgari dar Myian-e Daneshjooyan: Motale-e Moredi: Daneshjooyan-e Daneshgah-e Esfahan [A Survey on the Relationship between Popular Music Consumption and Aggression among Students, Case Study: Students of University of Isfahan], Journal of Iranian Cultural Research, 2(8), pp. 243–262.28 A. Maleki & M. Rafiei (Citation2013) Dastresi-ye Efteraghi be Sarmaye va Tozi-e Nabarabar-e Zaeghe-ye Honari: Tahlil-e Kammi Rabete beyn-e Sarmaye va Masrafe Farhangi [Differential Accessibility to Capital and Unequal Distribution of Artistic Tastes of Tehran Youth], Quarterly Journal of Iranian Association for Cultural Studies and Communication, 8(29), p. 82.29 A. Vedadhir, E. Aminian, A. A.Tabatabaei, M. J. Salmani (Citation2011) Javanan va Mosigi Pap: Baresi-ye Jame-e-shenakhti-ye Avamel Ejtemaei-Farhangi-ye Mortabet ba Gerayesh-e Daneshjooyan-e Daneshgah-e Tarbiat Moalem [Youths and Pop Music: A Sociological Study on Socio-Cultural Factors Related to Tendency of Tarbiat Moallem University Students to Pop Music], Social Problems of Iran, 2(1), p. 176.30 M. Shahabi & M. Jahangardi (Citation2008) Khastgah-e Ejtemaei-ye Olgooha-ye Estefade az Television-haye Mahvareh-ei Farsi Zaban dar Myan-e Mokhataban-e Tehrani [The Social Origins of Association- Patterns of Tehrani Audiences with The Persian Speaking Satellite Channels], Iranian Journal of Cultural Research, 1(2), pp. 38, 48.31 A. Vedadhir, E. Aminian, A. A.Tabatabaei, M. J. Salmani (Citation2011) Javanan va Mosigi Pap: Baresi-ye Jame-e-shenakhti-ye Avamel Ejtemaei-Farhangi-ye Mortabet ba Gerayesh-e Daneshjooyan-e Daneshgah-e Tarbiat Moalem, p. 186.32 F. Javaheri, S. H. Serajzadeh, & S. Shekofteh (Citation2012) Mosigi-e Ziramini Baznama-ye Daghdagheha-ye Javanan [Underground Music as a Representative of Social Concerns of Youths], Journal of Culture-Communication Studies, 13(18), p. 27.33 Ali Shakoori & Amirhosein Gholamzadeh Natanzi (2010) Manesh va Sabk-e Masraf-e Mosigi: Motale-e-ye Moredi-ye Javanan dar Shahr-e Tehran [Habitus and Style of Music Consumption: A Case Study of the Youth in the City of Tehran], Global Media Journal, 5, p. 10.34 A. Vedadhir, E. Aminian, A. A.Tabatabaei, M. J. Salmani, Javanan va Mosigi Pap: Baresi-ye Jame-e-shenakhti-ye Avamel Ejtemaei-Farhangi-ye Mortabet ba Gerayesh-e Daneshjooyan-e Daneshgah-e Tarbiat Moalem, p. 177.35 R. Samim & S. Fatemi (Citation2008) Pajoheshi Jame-e Shenakhti dar bab-e Masraf-e Mosigayi dar beyn Afradi ba Paygah-haye Ejtemaei-ye Motefavet: Motale-ye Moredi Tehran [A Sociological Survey on Musical Consumption Among People with Different Social Statuses (Case Study: Tehran)], Journal of Fine Arts, No. 32, pp. 127–135.36 A. Vedadhir, E. Aminian, A. A.Tabatabaei, M. J. Salmani, Javanan va Mosigi Pap: Baresi-ye Jame-e-shenakhti-ye Avamel Ejtemaei-Farhangi-ye Mortabet ba Gerayesh-e Daneshjooyan-e Daneshgah-e Tarbiat Moalem, p. 177.37 R. Samim & S. Fatemi, Pajoheshi Jame-e Shenakhti dar bab-e Masraf-e Mosigayi dar beyn Afradi ba Paygah-haye Ejtemaei-ye Motefavet: Motale-ye Moredi Tehran, p. 132.38 M. Fazeli (Citation2006) Jame-e Shenasi-ye Masraf-e Mosigi [Sociology of Music Consumption], Quarterly Journal of Iranian Association for Cultural Studies and Communication, 1(4), pp. 44.39 M. M. Rahmati & S. Moradi (Citation2010) Tozi-e Ejtemaei-ye Olgo-ye Masraf: Barresi-ye Saligheha-ye Honari dar Tehran [Social distribution of consumption pattern: A study of artistic tastes in Tehran], Sociology of Art and Literature, 3(1), pp. 27, 29.40 M. R. Azadehfar & M. Nouri (Citation2011) Thlil-e Nahve-ye Barkhord va Arzesh-gozari Mosigi Rak az Didgah-e Mokhataban: Motalee-ye Moredi Shanavandegan-e Iran va Torkiye [The Values of Rock Music Based on its Listeners Views: The Cases of Iranian and Turkish Audiences Perspective], Sociological Journal of Art and Literature, 2(2), pp. 186, 140.41 M. Fazeli (Citation2006) Jame-e Shenasi-ye Masraf-e Mosigi [Sociology of Music Consumption], Quarterly Journal of Iranian Association for Cultural Studies and Communication, 1(4), pp. 44, 48.42 M. Fazeli (Citation2008) Tasvir-e Sabk-e Zendegi-ye Farhangi-ye Daneshjooyan [A Picture of the Cultural Lifestyle of the Student Community], Journal of Iranian Cultural Research, 1(1), p. 182.43 M. S. Zokaei & Z. Pourgholam Arani (Citation2004) Khordeh Farhang ya Masraf-e Farhangi: Pajohesi dar beyn Dokhtaran Dabirestani-e Shahr-e Tehran [Subculture or Cultural Consumption: A study among female students in Tehran], Quarterly Journal of the Iranian Association for Cultural Studies and Communication, 1(4), p. 14.44 Fazeli, Tasvir-e Sabk-e Zendegi-ye Farhangi-ye Daneshjooyan, pp. 175–198.45 Shahabi & Jahangardi, Khastgah-e Ejtemaei-ye Olgooha-ye Estefade az Television-haye Mahvareh-ei Farsi Zaban dar Myan-e Mokhataban-e Tehrani, pp. 38, 48.46 Fazeli, Tasvir-e Sabk-e Zendegi-ye Farhangi-ye Daneshjooyan, 1(1), p. 182.47 Vedadhir et al., Javanan va Mosigi Pap: Baresi-ye Jame-e-shenakhti-ye Avamel Ejtemaei-Farhangi-ye Mortabet ba Gerayesh-e Daneshjooyan-e Daneshgah-e Tarbiat Moalem, p. 189.48 M. Shahabi (Citation2016) Youth subcultures in post- Revolution Iran: An alternative reading, in: Pam Nilan & Carles Feixa, eds., Global Youth? 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Abstract

AbstractThis article examines the genesis of and competition among rival music genres in post-revolutionary Iran. Rival genres (pop music, rap music, rock music, traditional music, etc.) are genres that gradually emerged and developed since the 1920s. Relying on Pierre Bourdieu’s theory of cultural field I point out the important music genres in post-revolutionary Iran that act as a means of expressing conflict over the borders of the field, and why in this field, contrary to Bourdieu’s theory, instead of a bipolar situation, a multi-genre situation prevails. Then, with the data obtained from my previous research and that of others who mostly live in Iran, I try to depict a picture of music consumption based on the rival music genres in the field and show how, contrary to the ideals and slogans of the Islamic Revolution, under the influence of global youth culture, the consumption of popular music has become the dominant consumption.Key Words: Culturefield of music productionglobal youth cultureIranian culturemusic consumptionmusic genresmusic tastepopular musicpost-revolutionary Iranian culture Disclosure StatementThe author reported no conflict of interests in the research for or writing of this article.Notes1 P. Bourdieu (Citation1993) The Field of Cultural Production: Essays on Art and Literature (New York: Columbia University Press), p. 42.2 M. Mohammadi (Citation2017) Modal Modernities: Formations of Persian Classical Music and the Recording of a National Tradition (Create Space: An Amazon.com Company), p. 88.3 J. During (2004[1984]) Sonnat va Tahavol dar Mosigi-ye Irani [La musique iranienne: Tradition et évolution, Paris: Editions Recherche sur les civilisations] (Tehran: Toos Publication), p. 31.4 L. C. Miller (Citation1999) Music and Song in Persia: The Art of Avaz (London: Curzon Press); L. Nooshin (Citation1996) The Processes of Creation and Recreation in Persian Classical Music, Unpublished Doctoral thesis, Goldsmiths’ College.5 Miller, Music and Song in Persia: The Art of Avaz, p. 34.6 Ibid, p. 52.7 Ibid, p. 29.8 H. Salehyar (Citation2015) The Revival of Iranian Classical Music during the Second Pahlavi Period: The Influence of the Politics of “Iranian-ness”, Unpublished Doctoral thesis, Department of Music, University of Alberta.9 M. Gelbart (Citation2021) Romanticism, the Folk, and Musical Nationalisms, in: Benedict Tylor (ed) The Cambridge Companion to Music and Romanticism, pp. 74–91 (Cambridge: Cambridge University Press).10 M. Shahabi (Citation2003) Jahani-shodan-e Javani: Khorde Farhangha-ye Javani dar Asr-e Jahani-shodan [Globalization of Youth: Youth Subcultures in the Age of Globalization], Quarterly Journal of Youth Studies, 1(5), p. 9.11 G. Rekabtalaei (Citation2019) Iranian Cosmopolitanism: A Cinematic History, pp. 184–231 (Cambridge: Cambridge University Press).12 N. Siamdoust (Citation2017) Soundtrack of the Revolution: The Politics of Music in Iran (Stanford University Press), p. 46.13 A. Youssefzadeh (Citation2000) The Situation of Music in Iran since the Revolution: The Role of Official Organizations Source, British Journal of Ethnomusicology, 9(2), p. 36.14 Siamdoust, Soundtrack of the Revolution: The Politics of Music in Iran, p. 250.15 During, Sonnat va Tahavol dar Mosigi-ye Irani, p. 31.16 F. Hemmasi (2013) Intimating Dissent: Popular Song, Poetry, and Politics in Pre-Revolutionary Iran, Ethnomusicology, 57(1), p. 57.17 A. Baghernia Abkenar (Citation2021) Playlist We Know: The Contribution of Pre-Revolution Songs to Building Collective Representation in Iranian Movements, Dissertation, Faculty of Social Studies, Masaryk University, Brno, p. 37.18 H. Bastan (Citation2019) Recent Experimental Electronic Music Practices in Iran: An Ethnographic and Sound-Based Investigation, Dissertation, Sonic Arts Research Centre, Belfast: Queen’s University.19 A. Youssefzadeh (Citation2000) The Situation of Music in Iran since the Revolution: The Role of Official Organizations Source, British Journal of Ethnomusicology, 9(2), p. 36.20 H. Khojasteh (Citation2010) Konesh-e Jamei-ye Karbord-e Mosigi dar Radio [Collective Action in Applying Music in Radio], Quarterly Journal of Communication Research, 17(63), p. 54.21 L. Nooshin (Citation2009) ‘Tomorrow Is Ours’: Re-Imagining Nation, Performing Youth in the New Iranian Pop Music, in: L. Nooshin, ed., Music and the Play of Power in the Middle East, North Africa and Central Asia, p. 246 (Aldershot: Ashgate).22 M. Maghazei (Citation2014) Trends in contemporary conscious music in Iran, LSE Middle East Centre paper series, No. 3, p. 1.23 P. Javadzadeh, M. Kowsari, M. Ameri Shahrabi, A. Abtahi (Citation2021) Maghooleha-ye Tozi-e Mosigi, [Cultural Categories of Music Distribution], Journal of Iranian Cultural Research, 14(2), pp. 71–93; P. Javadzadeh, M. Kowsari, M. Ameri Shahrabi (Citation2020) Maghooleha-ye Tolid-e Mosigi Melli Iran, [Cultural Categories of Production of Iranian National Music], Quarterly Journal of Iranian Association for Cultural Studies and Communication, 16(60), pp. 155–178.24 V. Ghasemi (Citation2002) Sanjesh-e Negaresh-e Javanan be Anva-e Mosighi dar Shahr-e Esfahan [Measuring Young People’s Attitude towards Different Types of Music in Isfahan City], Farhang-e Isfahan, Special Issue, p. 78.25 V. Ghasemi & S. A. Mirzaei (Citation2006) Javanan va Hanjarha-ye Rasmi va Geyr-e Rasmi-ye Mosigi pap [Youth and Formal and Informal Norms of Pop Music: A Study in the Expression of Youth in Isfahan], Journal of Social Sciences Letter, 28(2), pp. 98–122.26 Ibid, pp. 114–115.27 R. Samim &V. Ghasemi (Citation2011) Gerayesh be Masraf-e Gooneha-ye Mosigi Mardom-pasan va Mizan-e Parkhashgari dar Myian-e Daneshjooyan: Motale-e Moredi: Daneshjooyan-e Daneshgah-e Esfahan [A Survey on the Relationship between Popular Music Consumption and Aggression among Students, Case Study: Students of University of Isfahan], Journal of Iranian Cultural Research, 2(8), pp. 243–262.28 A. Maleki & M. Rafiei (Citation2013) Dastresi-ye Efteraghi be Sarmaye va Tozi-e Nabarabar-e Zaeghe-ye Honari: Tahlil-e Kammi Rabete beyn-e Sarmaye va Masrafe Farhangi [Differential Accessibility to Capital and Unequal Distribution of Artistic Tastes of Tehran Youth], Quarterly Journal of Iranian Association for Cultural Studies and Communication, 8(29), p. 82.29 A. Vedadhir, E. Aminian, A. A.Tabatabaei, M. J. Salmani (Citation2011) Javanan va Mosigi Pap: Baresi-ye Jame-e-shenakhti-ye Avamel Ejtemaei-Farhangi-ye Mortabet ba Gerayesh-e Daneshjooyan-e Daneshgah-e Tarbiat Moalem [Youths and Pop Music: A Sociological Study on Socio-Cultural Factors Related to Tendency of Tarbiat Moallem University Students to Pop Music], Social Problems of Iran, 2(1), p. 176.30 M. Shahabi & M. Jahangardi (Citation2008) Khastgah-e Ejtemaei-ye Olgooha-ye Estefade az Television-haye Mahvareh-ei Farsi Zaban dar Myan-e Mokhataban-e Tehrani [The Social Origins of Association- Patterns of Tehrani Audiences with The Persian Speaking Satellite Channels], Iranian Journal of Cultural Research, 1(2), pp. 38, 48.31 A. Vedadhir, E. Aminian, A. A.Tabatabaei, M. J. Salmani (Citation2011) Javanan va Mosigi Pap: Baresi-ye Jame-e-shenakhti-ye Avamel Ejtemaei-Farhangi-ye Mortabet ba Gerayesh-e Daneshjooyan-e Daneshgah-e Tarbiat Moalem, p. 186.32 F. Javaheri, S. H. Serajzadeh, & S. Shekofteh (Citation2012) Mosigi-e Ziramini Baznama-ye Daghdagheha-ye Javanan [Underground Music as a Representative of Social Concerns of Youths], Journal of Culture-Communication Studies, 13(18), p. 27.33 Ali Shakoori & Amirhosein Gholamzadeh Natanzi (2010) Manesh va Sabk-e Masraf-e Mosigi: Motale-e-ye Moredi-ye Javanan dar Shahr-e Tehran [Habitus and Style of Music Consumption: A Case Study of the Youth in the City of Tehran], Global Media Journal, 5, p. 10.34 A. Vedadhir, E. Aminian, A. A.Tabatabaei, M. J. Salmani, Javanan va Mosigi Pap: Baresi-ye Jame-e-shenakhti-ye Avamel Ejtemaei-Farhangi-ye Mortabet ba Gerayesh-e Daneshjooyan-e Daneshgah-e Tarbiat Moalem, p. 177.35 R. Samim & S. Fatemi (Citation2008) Pajoheshi Jame-e Shenakhti dar bab-e Masraf-e Mosigayi dar beyn Afradi ba Paygah-haye Ejtemaei-ye Motefavet: Motale-ye Moredi Tehran [A Sociological Survey on Musical Consumption Among People with Different Social Statuses (Case Study: Tehran)], Journal of Fine Arts, No. 32, pp. 127–135.36 A. Vedadhir, E. Aminian, A. A.Tabatabaei, M. J. Salmani, Javanan va Mosigi Pap: Baresi-ye Jame-e-shenakhti-ye Avamel Ejtemaei-Farhangi-ye Mortabet ba Gerayesh-e Daneshjooyan-e Daneshgah-e Tarbiat Moalem, p. 177.37 R. Samim & S. Fatemi, Pajoheshi Jame-e Shenakhti dar bab-e Masraf-e Mosigayi dar beyn Afradi ba Paygah-haye Ejtemaei-ye Motefavet: Motale-ye Moredi Tehran, p. 132.38 M. Fazeli (Citation2006) Jame-e Shenasi-ye Masraf-e Mosigi [Sociology of Music Consumption], Quarterly Journal of Iranian Association for Cultural Studies and Communication, 1(4), pp. 44.39 M. M. Rahmati & S. Moradi (Citation2010) Tozi-e Ejtemaei-ye Olgo-ye Masraf: Barresi-ye Saligheha-ye Honari dar Tehran [Social distribution of consumption pattern: A study of artistic tastes in Tehran], Sociology of Art and Literature, 3(1), pp. 27, 29.40 M. R. Azadehfar & M. Nouri (Citation2011) Thlil-e Nahve-ye Barkhord va Arzesh-gozari Mosigi Rak az Didgah-e Mokhataban: Motalee-ye Moredi Shanavandegan-e Iran va Torkiye [The Values of Rock Music Based on its Listeners Views: The Cases of Iranian and Turkish Audiences Perspective], Sociological Journal of Art and Literature, 2(2), pp. 186, 140.41 M. Fazeli (Citation2006) Jame-e Shenasi-ye Masraf-e Mosigi [Sociology of Music Consumption], Quarterly Journal of Iranian Association for Cultural Studies and Communication, 1(4), pp. 44, 48.42 M. Fazeli (Citation2008) Tasvir-e Sabk-e Zendegi-ye Farhangi-ye Daneshjooyan [A Picture of the Cultural Lifestyle of the Student Community], Journal of Iranian Cultural Research, 1(1), p. 182.43 M. S. Zokaei & Z. Pourgholam Arani (Citation2004) Khordeh Farhang ya Masraf-e Farhangi: Pajohesi dar beyn Dokhtaran Dabirestani-e Shahr-e Tehran [Subculture or Cultural Consumption: A study among female students in Tehran], Quarterly Journal of the Iranian Association for Cultural Studies and Communication, 1(4), p. 14.44 Fazeli, Tasvir-e Sabk-e Zendegi-ye Farhangi-ye Daneshjooyan, pp. 175–198.45 Shahabi & Jahangardi, Khastgah-e Ejtemaei-ye Olgooha-ye Estefade az Television-haye Mahvareh-ei Farsi Zaban dar Myan-e Mokhataban-e Tehrani, pp. 38, 48.46 Fazeli, Tasvir-e Sabk-e Zendegi-ye Farhangi-ye Daneshjooyan, 1(1), p. 182.47 Vedadhir et al., Javanan va Mosigi Pap: Baresi-ye Jame-e-shenakhti-ye Avamel Ejtemaei-Farhangi-ye Mortabet ba Gerayesh-e Daneshjooyan-e Daneshgah-e Tarbiat Moalem, p. 189.48 M. Shahabi (Citation2016) Youth subcultures in post- Revolution Iran: An alternative reading, in: Pam Nilan & Carles Feixa, eds., Global Youth? Hybrid identities, plural worlds, pp. 111 (London: Routledge).

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1979年革命后伊朗社会对立音乐流派与音乐消费社会学

摘要本文探讨了革命后伊朗音乐流派的起源和竞争。竞争类型(流行音乐，说唱音乐，摇滚音乐，传统音乐等)是自20世纪20年代以来逐渐出现和发展的类型。依靠皮埃尔·布迪厄的文化场域理论，我指出了革命后伊朗重要的音乐流派，它们作为一种表达领域边界冲突的手段，以及为什么在这个领域，与布迪厄的理论相反，不是两极的情况，而是多流派的情况盛行。然后，根据我之前的研究和其他主要生活在伊朗的人的研究数据，我试图描绘一幅基于该领域竞争音乐类型的音乐消费图景，并展示如何与伊斯兰革命的理想和口号相反，在全球青年文化的影响下，流行音乐的消费已成为主导消费。关键词:文化，音乐生产领域，全球青年文化，伊朗文化，音乐消费，音乐类型，音乐品味，流行音乐，革命后的伊朗文化披露声明，作者在研究或撰写本文时没有利益冲突。注1 p. Bourdieu (Citation1993)文化生产领域:艺术与文学论文(纽约:哥伦比亚大学出版社)，第42.2 M. Mohammadi (Citation2017)模态现代性:波斯古典音乐的形成和民族传统的记录(创造空间:亚马逊公司)，第88.3 J. During (2004[1984]) Sonnat va Tahavol dar Mosigi-ye Irani [La musique iranienne: Tradition et samvolution，巴黎:Editions Recherche sur les civilisations](德黑兰:工具出版)，页31.4 l.c.米勒(引文1999)音乐和歌曲在波斯:阿瓦兹的艺术(伦敦:Curzon出版社);L. Nooshin (Citation1996) The Processes of Creation and Recreation in Persian Classical Music，未发表的博士论文，Goldsmiths ' college。5 Miller, Music and Song in Persia: The Art of Avaz, p. 34.6 Ibid, p. 52.7 Ibid, p. 29.8 H. Salehyar (Citation2015) Second pah列维时期伊朗古典音乐的复兴:“伊朗性”政治的影响，未发表的博士论文，音乐系，阿尔伯塔大学。9 M. Gelbart (Citation2021)浪漫主义，民间和音乐民族主义，在:本尼迪克特·泰勒(编)的剑桥伴侣音乐和浪漫主义，第74-91页(剑桥:剑桥大学出版社)M. Shahabi (Citation2003) Jahani-shodan-e Javani: Khorde Farhangha-ye Javani dar Asr-e Jahani-shodan[青年的全球化:全球化时代的青年亚文化]，青年研究季刊，1(5)，p. 9.11 .伊朗世界主义:电影史，pp. 184-231(剑桥:剑桥大学出版社). 2019N. Siamdoust (Citation2017)《革命的原声:伊朗的音乐政治》(斯坦福大学出版社)，第46.13页。Youssefzadeh (Citation2000)革命以来伊朗音乐的状况:官方组织的作用来源，英国民族音乐学杂志，9(2)，p. 36.14 Siamdoust，革命的配乐:伊朗音乐的政治，p. 250.15期间，Sonnat va Tahavol dar Mosigi-ye Irani, p. 31.16 F。赫玛西(2013)《亲密的异议:革命前伊朗的流行歌曲、诗歌和政治》，民族音乐学，57(1)，第57.17页。Baghernia Abkenar (Citation2021)我们知道的播放列表:革命前歌曲对在伊朗运动中建立集体代表性的贡献，论文，社会研究学院，马萨里克大学，布尔诺，第37.18 H. Bastan (Citation2019)伊朗最近的实验电子音乐实践:一项人种学和基于声音的调查，论文，声音艺术研究中心，贝尔法斯特:女王大学。Youssefzadeh (Citation2000)革命以来伊朗音乐的状况:官方组织的作用来源，英国民族音乐学杂志，9(2)，p. 36.20 H. Khojasteh (Citation2010) Konesh-e Jamei-ye Karbord-e Mosigi dar Radio[在广播中应用音乐的集体行动]，Quarterly Journal of Communication Research, 17(63)， p. 54.21 L. Nooshin (Citation2009)“明天是我们的”:重新想象国家，在新伊朗流行音乐中表演青年，in:L. Nooshin主编，《音乐与中东、北非和中亚的权力游戏》，第246页(Aldershot: Ashgate)p. Javadzadeh, M. Kowsari, M. Ameri Shahrabi, A. Abtahi (Citation2021) Maghooleha-ye Tozi-e Mosigi，[音乐分布的文化类别]，《伊朗文化研究杂志》，14(2)，第71-93页;P. Javadzadeh, M. Kowsari, M。

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来源期刊

Middle East Critique AREA STUDIES-

CiteScore

2.20

自引率

6.20%

发文量