Cultural Categories of Distribution of Iranian National Music
Among the three main domains of production, distribution and consumption, Iranian national music has specifically received little attention from contemporary researchers. Music has a special place in the Iranian culture since it is shaped by historical and biocultural experiences of this society. Bu...
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| Format: | Article |
| Language: | fas |
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Iranian Institute for Social and Cultural Studies
2021-06-01
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| Series: | Taḥqīqāt-i Farhangī-i Īrān |
| Subjects: | |
| Online Access: | http://www.jicr.ir/article_444_094b87cd375069c30f2ed7bb24bdd74d.pdf |
| _version_ | 1797937242363133952 |
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| author | P. Javadzadeh M. Kowsari M. Ameri Shahrabi A. Abtahi |
| author_facet | P. Javadzadeh M. Kowsari M. Ameri Shahrabi A. Abtahi |
| author_sort | P. Javadzadeh |
| collection | DOAJ |
| description | Among the three main domains of production, distribution and consumption, Iranian national music has specifically received little attention from contemporary researchers. Music has a special place in the Iranian culture since it is shaped by historical and biocultural experiences of this society. But in recent years, Iranian national music has not only lost its social influence but the audience and its social functions as well. Usually, music is distributed in Iran through its producers after obtaining official licenses and reviewing the content of a musical piece. Since Iranian national music is different in contents and requirements compared to other countries, using Western theories to understand its distribution mechanism in Iran may not be very helpful. Also, no research has been done so far to understand the socio-cultural aspects of the distribution mechanism of Iranian national music. This research seeks to establish a comprehensive understanding of this field with a heuristic approach as well as by using the systematic grounded theory. Data were collected via an in-depth interview technique, coded and categorized with three open and axial as well as selective instructions. 23 concepts and 8 categories were extracted from the data. Finally, using the paradigm model, the grounded theory is presented in the form of a story and visual model. |
| first_indexed | 2024-04-10T18:41:36Z |
| format | Article |
| id | doaj.art-442ae6dfedf84693a53d94f9627c8502 |
| institution | Directory Open Access Journal |
| issn | 2008-1847 2476-5058 |
| language | fas |
| last_indexed | 2024-04-10T18:41:36Z |
| publishDate | 2021-06-01 |
| publisher | Iranian Institute for Social and Cultural Studies |
| record_format | Article |
| series | Taḥqīqāt-i Farhangī-i Īrān |
| spelling | doaj.art-442ae6dfedf84693a53d94f9627c85022023-02-01T12:50:44ZfasIranian Institute for Social and Cultural StudiesTaḥqīqāt-i Farhangī-i Īrān2008-18472476-50582021-06-01142719310.22035/jicr.2021.2672.3078444Cultural Categories of Distribution of Iranian National MusicP. Javadzadeh0M. Kowsari1M. Ameri Shahrabi2A. Abtahi3PhD in Cultural Management, Department of Cultural Management, Faculty of Management and Economy, Islamic Azad University, Science and Research University Branch, Tehran, IranAssociate Professor of Communications, Faculty of Social Sciences, University of Tehran, Tehran, IranAssistant Professor of Management, Department of Management, Faculty of Humanities, Islamic Azad University, Naragh Branch, Markazi Province, IranAssistant Professor of Management, Department of Management, Faculty of Management and Economy, Islamic Azad University, Science and Research University Branch, Tehran, IranAmong the three main domains of production, distribution and consumption, Iranian national music has specifically received little attention from contemporary researchers. Music has a special place in the Iranian culture since it is shaped by historical and biocultural experiences of this society. But in recent years, Iranian national music has not only lost its social influence but the audience and its social functions as well. Usually, music is distributed in Iran through its producers after obtaining official licenses and reviewing the content of a musical piece. Since Iranian national music is different in contents and requirements compared to other countries, using Western theories to understand its distribution mechanism in Iran may not be very helpful. Also, no research has been done so far to understand the socio-cultural aspects of the distribution mechanism of Iranian national music. This research seeks to establish a comprehensive understanding of this field with a heuristic approach as well as by using the systematic grounded theory. Data were collected via an in-depth interview technique, coded and categorized with three open and axial as well as selective instructions. 23 concepts and 8 categories were extracted from the data. Finally, using the paradigm model, the grounded theory is presented in the form of a story and visual model.http://www.jicr.ir/article_444_094b87cd375069c30f2ed7bb24bdd74d.pdfiranian national musicmusic productionmusic distributiongrounded theory |
| spellingShingle | P. Javadzadeh M. Kowsari M. Ameri Shahrabi A. Abtahi Cultural Categories of Distribution of Iranian National Music Taḥqīqāt-i Farhangī-i Īrān iranian national music music production music distribution grounded theory |
| title | Cultural Categories of Distribution of Iranian National Music |
| title_full | Cultural Categories of Distribution of Iranian National Music |
| title_fullStr | Cultural Categories of Distribution of Iranian National Music |
| title_full_unstemmed | Cultural Categories of Distribution of Iranian National Music |
| title_short | Cultural Categories of Distribution of Iranian National Music |
| title_sort | cultural categories of distribution of iranian national music |
| topic | iranian national music music production music distribution grounded theory |
| url | http://www.jicr.ir/article_444_094b87cd375069c30f2ed7bb24bdd74d.pdf |
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