The role of the main elements of music in Kurdish theatrical performance

Abstract

Abstract
          This thesis examines the role of the fundamental elements of music—melody, rhythm, harmony, and texture—in Kurdish theatrical productions in the city of Sulaymaniyah between 2010 and 2025. Rooted in the long-standing historical relationship between music and theater as powerful tools of cultural expression, the research focuses on how musical elements deepen the emotional, narrative, and symbolic dimensions of theatrical performance within a context marked by artistic richness and socio-political transformations.

        The central research question explores how integrated musical components—particularly those involving traditional Kurdish instruments and stylistic structures—contribute to enhancing dramatic expression and audience experience in Kurdish theatrical practice. By investigating the intersection of music and theater in this specific temporal and geographical setting, the study aims to provide a focused contribution to the broader discourse on Kurdish cultural performance.

Methodologically, the thesis adopts a qualitative approach, with analytical emphasis on the structural and functional roles of music in theater. The research particularly highlights expressive and aesthetic dimensions that contribute to the construction of meaning within theatrical productions.

        Geographically, the study is confined to Sulaymaniyah and analyzes the musical practices of three prominent theater groups over a span of fifteen years. These case studies offer a unique lens through which to understand the evolution of music within Kurdish theater and its ongoing influence on the identity of theatrical works and their impact on contemporary audiences.

         The thesis is organized into four main chapters: the first outlines the methodological and conceptual framework; the second presents the theoretical background on the relationship between music and theater; the third provides a detailed analysis of selected theatrical works in Sulaymaniyah; and the fourth concludes with key findings and recommendations for future research.