«گفت وگوی با خودم»، خودزندگی نامه آمیغی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ارشد طهماسبی علاوه بر جایگاه معلمی در عرصه موسیقی نوازندگی و آهنگ سازی، در حوزه نگارش های پژوهشی موسیقی ایرانی هم نامی آشنا و برجسته کسب کرده است. او به تازگی کتابی در باب زندگی خود نگاشته است که نظر به روحیه لطیف و حساس هنری و منش و روش تحقیقی، همچنین نگاه اخلاقی و بیان صریح جسارت بارش و ضمناً تجربه نوشتاری ارزنده و انسش با ادبیات داستانی به ویژه، مهم ترین منبع آگاهی برای شناخت درونی ترین جریان ها و شخصیت های مهم موسیقی این نیم قرن به شمار می آید. افزون بر این ها این کتاب خواندنی از باب خلاقیت نوشتاری، نمونه ای از گونه ادبی آمیغی خودزندگی نامه نگاری است. این اثر او در قالب مصاحبه خیالی، ترکیبی از روزنوشت، خودزندگی نامه، اعتراف نامه، سفرنامه و نقدنامه تولید شده است. از آنجا که نویسنده این مقاله مدعی است که این کتاب اتفاقی تازه در گونه شناسی ادبی است، نخست در مقدمه ای به ماهیت ژانری این اثر و تدقیق بعضی زوایای این بحث اعم از مرز این گونه با گونه های هم سنگش پرداخته، سپس به تحلیل گونه شناسی آن و بیان ارزش های هنری و محتوایی آن کوشیده است. کتابی که با تمرکز بر مراوده نویسنده با چند موسیقی دان جریان ساز ایرانی، یعنی لطفی و علیزاده و نیز دیگر اهالی این وادی به همراه اظهار نظرهای بسیار باریک بینانه نویسنده کتاب از منظرهای متنوع خاصه قومی و صنفی بی اندازه جذاب و آگاهی بخش است.Conversation with Myself, Mixed Genre Autobiography
In addition to his role as a teacher, performer, and composer in the field of music, Arshad Tahmasbi has also established himself as a distinguished and familiar name in the realm of scholarly writings on Iranian music. Recently, he has authored a book about his own life—one that, given his delicate and sensitive artistic spirit, his research-oriented approach, and his ethical perspective, as well as his bold and candid expression, stands as the most significant source of insight into the innermost currents and key figures of Iranian music over the past half-century. Furthermore, this compelling book, in terms of its creative literary structure, serves as an example of the hybrid genre of autobiographical writing. This work, structured as an imagined interview, blends elements of a diary, autobiography, confession, travelogue, and critical essay. Since the author of this article claims that this book marks a new development in literary genre classification, the introduction first explores the generic nature of the work—clarifying its boundaries with adjacent genres—before proceeding to an analysis of its genre-related aspects and its artistic and thematic merits. Centering on the author’s interactions with influential Iranian musicians such as Lotfi and Alizadeh, as well as other figures in this domain, the book, enriched by the author’s meticulous and insightful commentary from various perspectives—particularly ethnic and professional—proves to be both profoundly engaging and highly enlightening.
Extended abstract
Arshad Tahmasbi, a virtuoso of the tar and setar, a teacher, composer, and, above all, a distinguished scholar in the realm of Iranian national music, is a name that resonates deeply within the musical and literary spheres of Iran. His scholarly pursuits in narrative literature, travel writing, and memoirs, along with his tireless dedication to writing, have endowed him with a pen that is both elegant and profound, surpassing even the most esteemed of his peers. Recently, he has penned a remarkable work—a book chronicling his life. Given his direct involvement in contemporary movements of Iranian national music, his meticulous documentation of events, and his candid, ethical portrayal of influential teachers and figures, this work has become an essential resource for both general and specialized audiences interested in Iranian music.
Tahmasbi’s sharp memory and analytical voice, woven through the pages of his book, alongside his disciplined and almost archival approach to storytelling, have created a work that is as much a social and historical study of Iranian culture as it is an exploration of the inner worlds of Iran’s literary and artistic giants. His spirit of inquiry, shaped by his dual roles as a teacher and a researcher, has led him to regularly engage with, critique, and reflect upon music-related writings, sharing technical insights drawn from the teachings of his own masters.
One of the strikingly novel features of this work is his life story written as an imagined dialogue. The subtle difference between an interview-based biography and a self-written autobiography lies in the blend of the interviewer's prose with the spoken style of the subject, which—although edited—does not stray far from the realm of autobiography. While these questions are sometimes the result of the interviewee's own thoughts or their interaction with the interviewer, they still maintain the integrity of the autobiography genre.
This highly readable book, in terms of writing creativity, is also an excellent example of the intertwined literary genre of autobiography. It is a fusion of diary, self-written autobiography, confession, travelogue, and critique, and the writer of this article, based on these merits, claims that this book marks a new development in literary genre classification. According to the writer of this article, a self-written autobiography “is referred to as an independent or implicit work, in which the author thoughtfully reflects upon certain moments or stages of their life, relating them to their own self, in the form of a documentary or documentary-like monologic narrative, created either spontaneously or, rarely, in dialogue, and sometimes in response to external requests”.
To substantiate the novelty of this work, the writer first delves into the genre itself, examining the boundaries that separate it from its counterparts. Following this, he offers a thorough analysis of its typology, highlighting the artistic and thematic virtues that elevate it to a work of both historical and cultural significance. Focusing on Tahmasbi’s interactions with trailblazing Iranian musicians—figures such as Lotfi and Alizadeh—alongside other prominent voices in the field, the book offers keenly observed reflections that open new vistas on ethnic, professional, and artistic rivalries. These personal and cultural encounters, presented with remarkable candor, create a compelling narrative that deepens the reader's understanding of Iranian music and its key figures.
Conversations with Myself, subtitled Memoirs of Arshad Tahmasbi, spans 736 pages and is published by Mahoor Publications, accompanied by a cover illustration of Tahmasbi by Ahmad Vakili. This article’s author has made an effort to analyze the book from linguistic, artistic, historical, anthropological, and professional perspectives, providing excerpts from the text to offer the reader a brief understanding of its content and the author's multifaceted perspective—one shaped by Iranian multicultural upbringing and reflective of various encounters, whether religious conflicts between Sunni and Shia, ethnic differences such as Kurds, Turks, and Lurs, or professional rivalries in the arts like the dominance of singers versus instrumentalists. These dynamics are presented openly and unreservedly for the reader's judgment.
Tahmasbi,Autobiography,Hybrid Genre,Adjacent Genre,Dialogue with Myself,
تبلیغات
