چکیده:
بیان مسئله: اسطوره‌‌ها به‌‌عنوان نظامی بینامتنی در تولید آثار ادبی و هنری نقش بزرگی ایفا می‌‌کنند. در مقاله حاضر سازه‌‌ها و عناصر ساختاری داستان در اثر غم‌نومه فریدون با تاکید بر قرابت‌‌های معنایی با برخی اساطیر ایرانی نظیر فریدون و ضحاک، سیاوش و نیز اسطوره-خدایانِ باروری و قهرمان در کنار روندِ ملودی‌‌پردازی و تنظیمِ موسیقایی اثر بر اساسِ مفاهیمِ اسطوره و موسیقی مورد تحلیل و بررسی قرار گرفته‌‌اند. هدف تحقیق: هدف از انجام این تحقیق کشف چگونگی نمود عناصر اسطورهای در اثر غم‌نومه فریدون بود.سؤال تحقیق: عناصر اسطورهای در اثر غم‌نومه فریدون به‌‌عنوان یک اثر روایی-موسیقایی چگونه نمود پیدا کردهاند و این اثر چه قرابت‌هایی با اساطیر ایرانی دارد؟روش تحقیق: از منظر هدف؛ کاربردی و از منظر روش انجام؛ به‌‌صورت توصیفی-تحلیلی بوده و مطالب نیز به‌‌شیوۀ گردآوریِ کتابخانه‌‌ای به دست آمده‌‌اند.نتیجه‌‌گیری: در اثر غم‌نومه فریدون عناصر اسطورهای مطرح‌‌شده نمود پیدا کردهاند و موسیقی نیز باتکیه‌بر مفاهیم این عناصر به درک هرچه بهتر فضای اثر کمک شایانی می‌‌نماید. غم‌نومه فریدون به‌‌نوعی با روزگار معاصر پدیدآورندگانش همسو بوده و در این روایت، فریدون به‌‌عنوان قهرمان در این اثر معرفی شده که در جهت اعتراض به نابسامانی‌‌های موجود به استقبال مرگ می‌‌رود تا نمونه‌‌ای از قهرمانِ باروری باشد که با مرگش امید، کنش‌گری و خودآگاهیِ اجتماعی را به ارمغان آورده است.
In the culture of nations and peoples, there are countless myths and legends, the basic similarities of which can be found in some works of art.Myth should be considered as a Minoan story, the origin of which is usually unknown, and the description of an action, belief, institution or phenomenon is beyond that at least part of it is taken from traditions and narrations and linked to religious rituals and beliefs. It is inseparable. In myth, events are narrated from the earliest times, in other words, how everything comes into being and continues to exist. The characters of the myth are supernatural beings and have always been possessed by an aura of holiness, its positive heroes. Myth sometimes seems to narrate historical events, but what is important in these narratives is not its historical accuracy, but the concept that the description of these stories contains for their believers, and also because it expresses man's views about himself, the world and the Creator. It does matter. Some theorists of myth in their definitions have referred to the narration of myths that many contemporary narratives and stories can be analyzed in order to obtain the mysteries in the text of the work based on myth. What has been studied in this research is somehow based on two dimensions of music and narration. Fereydoun's sad audio play, directed by Peyman Ghadimi and composed by Hossein Alizadeh, is a work that tells an almost contemporary storyline in a province in which "laughter" is the main theme in society, in which "Fereydoun" as the protagonist in It stands against oppression. At the beginning of the encounter with this work, a myth in ancient Iran called "Fereydoun and Zahak" is engraved in the mind of the audience, as if it has intertextual references to this myth. In that story, too, "Fereydoun" is the hero and they protest against the oppression of "Zahak". In Fereydoun, however, the subject is pursued in a different way and we see many metamorphoses related to Iranian myths and theories related to mythical narrations in this work. So that the victory in this work, unlike the story of Shahnameh about "Fereydoun", occurs with the death of the hero as a myth of fertility and is somehow related to the myth of "Siavash". The music in this work also helps to better understand the narrative-musical process of the story by using Iranian instruments and musical atmospheres with Western instruments, as well as relying on the Iranian instrumental line. Myths play an important role in the production of literary and artistic works as an intertextual system. In the present article, the structures and structural elements of the story by A Requiem for Fereydoun with emphasis on semantic similarities with some Iranian myths such as Fereydoun and Zahak, Siavash and also the myth-gods of fertility and hero along with the process of melody-composition and musical arrangement of the work They have been analyzed based on the concepts of myth and music. Perhaps A Requiem for Fereydoun can also be considered as one of the narrations in which the author presents the events side by side and presents them in a way that engages the audience in belief and thought. The arrangement of the pieces of the narrative is such that the result of the work depicts a socio-political as well as a national description of the society and the days of the author and similar times.The purpose of this study was to answer the fundamental and important question of how the mythical elements in A Requiem for Fereydoun were presented as a narrative-musical work and what is the relationship between this work and Iranian mythology. Method of conducting research from the perspective of purpose; Practical and from the point of view of method; It is descriptive-analytical and the materials are obtained by collecting libraries. In the end, we came to the conclusion that in the work of A Requiem for Fereydoun, In any case, without considering music as a dynamic element of individual, social and cultural life, self-awareness and understanding of society's identity becomes impossible. As we have seen, in the parts where there is a need to convey a sad and mournful atmosphere, the role of the states of instruments or songs such as Shoor, Dashti and Homayoun has been used, and in expressing advice and invitation to hope and Activism in society has used fourfold, threefold and new. Melodic repetitions and rhythmic periods are also noteworthy in order to convey the meaning of the myth and accompany it. Victory in this work, unlike the story of Shahnameh about "Fereydoun", occurs with the death of the hero as a myth of fertility and is somehow related to the myth of "Siavash". This is where the protagonist lives in the contemporary time, and the audience of the work also leaves the calendar time and the narrative-musical myth of the story finds its existence in the present.
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