جستجوی مقالات مرتبط با کلیدواژه « ترانه » در نشریات گروه « ادبیات و زبان ها »

The present research can investigate that part of songwriters and poet"s imagination which figure out stylistic features (Ebtehaj, Safa, Taraghi). They are also seystematic and have same order.These songs which are the best artistic and literary masterpieces of these mentioned poets, because of their artistic and literary creation and genius of poets gain stylistic personalization and have became basis of the special method,individual special style and periodical style of songwriting.In this research,we adopted the most famous songs of in 1960s and1950s which were the most popular collections of art works.This paper aimed to introduce the effect of kinds of images on making the famous orchestrates and new art style.

This research used analysis-descriptive method.The materials included taking notes from references while researching and the sample was just famous songs in1950s and 1960s which registered in the mentioned poets"s works.

The present paper lead to the conclusion that the famous lyrists who have literary and artistic genius are successful in methodic and systematic image processing and they can gain literary personalization.

The image, imagination, and conceptual power are first of all Targhee; Then Ibtahaj and finally Ismail Navab Safa have a commendable art and creative pen in their artistic creation.

Children's songs are one of the most important parts of Iranian songs. In this essay, the mystical song in songwriting is examined, the oldest Persian poetry has been found among the songs. The song is a general term used to refer to various types of poetry melodies or music accompanying, in particular Fahlaviyat, couplet, quatrain, and folkloric song. . Lyrics literally denoted small and fresh, whose etymology is rooted in Avestan language, and was a general term referring to a variety of melodic or rhythmic forms of poetry, particularly couplets and quatrain. Since lyrics have ancient roots, the oldest Persian poems are believed to be lyrics. Today, lyrics are synonymous with ballads and generally imply a rhythmic flow of expression. There are various rhythms in the lyrics such as prosodic and syllabic and a combination of both, and some are melodic. Lyrics have a simple and intimate language with colloquial and emotional themes. The findings of the research show that the children 's songs are a noticeable part of the song . The songs are divided into different parts. Where the highest frequence is related to story songs, The language of these songs is simple and popular, and beauty of these songs is largely due to their sweet and charming song. In many of these song it is only rhytme that is important and the content of poem is meaningless.

The meaning of songs and compositions, the type of performance and the history of their formation are among the topics that have occupied the minds of many researchers. Some people combine the two categories and call the types of songs songs, while there is a lot of difference in the way they are performed. Or from the point of view of some scholars and poets, two-bit, quatrain, piece and maybe short sonnet are also called songs, and from their point of view, it is the only short form of the song that separates it from ode, Masnavi, sonnet and other forms of poetry. The late Queen of Spring Poets, who is the founder of stylistics, considered ballad to be a type of local syllable poem that was common in pre-Islamic Iran and did not differentiate between poetry and ballad, and each poem, especially in the ridiculous seas of ridicule. They have used the place of ballad and on the other hand, they have made the song lower than the poem and lyric and the masters of art have also recorded them less; While the existence of Fahlaviyat shows that the song is older than poetry. In this article, by examining the characteristics of songs and compositions, we distinguish them as much as possible and provide the correct meaning of these two categories. This research has been done by descriptive-analytical method  (library).

Poetry and song have a special place in the oral literature of Kormanji in North Khorasan, because it is created by the minds of the people who live with it. It has been formed according to the culture, indigenous information, customs, emotions and beliefs of the people. It has been formed according to the culture, indigenous information, customs, emotions and beliefs of the people. Especially for mothers, which is actually a way to express their pains and sufferings. Complaining about the unfaithfulness of a friend, complaining about the times, the world's unfaithfulness, expressing the sadness of the heart, the illness of a friend, the sadness of a child, moving away from home, going abroad to look for a friend, and expressing love and affection. Because the audience of these poems are common people and the poem wants to communicate with such an audience, therefore it reflects the feelings of these people. The images used in these poems, like their themes, are very simple and natural, and all are derived from the elements of natural and simple life of village People.

As we know, the oral literature of each nation is the best expressive of the beliefs and minds of a nation and its ruling policies, and the history of any nation can be sought through reflection on the culture of that nation, including their songs. The songs and ballads that sometimes have been united by a state or a policy, or in accordance with certain political conditions, are born, such as the poems and songs of the mashrote period, which are in this period of thematic and thematic unity, and themes such as invitations to The struggle, the depiction of the curiosity of the kings, the expression of the crimes of the domestic and foreign tyrants and their treason to the Iranian nation, the praise of freedom and its martyrs, and the induction of hope for the future, the invitation to fight by helping with elements such as raising the level of people's awareness and commemorating the martyrs Way of freedom Hence, various manifestations of ritualistic, national and humanistic literacy were formed. In order to flourish these components, the mashrote age has contributed a lot, because it initiated new developments in the political and social arena, and consequently, changes in the field of culture and literature of the country such as democracy. In this essay, we try to investigate the poems of the mashrote era, the coordination of the poets as well as the thematic unity of the poems. This research has been done by descriptive-analytical (library) method.

Song is a general term that refers to a variety of melodic or accompanying forms of poetry, especially Fahlaviyat, quatrains, Rubaiat, and Tasnif. Local poetry contains some types like Garayeli in Azarbaijan, Goorani in Kordestan and Kermanshah, Sharbeh in South, Sharafshahi in Gilan, Sekheshti in Qoochan and Deyhoo in Bashagard which in this paper some samples of them are presented. In this article, the themes of love songs have been studied and classified in a descriptive-analytical research method. The statistical society is also scattered books of native songs and recorded works of music of Iranian singers. The language of the native songs is simple and slang and since they are related to the work and effort of simple people, they pay less attention to images. Most of these songs are accompanied by musical instruments. The conclusions show that the songwriters bring a variety of themes, such as complaining about getting away of sweet heart, the difficulty of the path of love, the opposition of the elders in the union of two beloveds, Kissing, loyalty, describing the beauty of the beloved, seeking attention and wishing to join, seek to show the themes of "presence next to beloved" with the sub-layers of desire or its permanence and "complaining of separation and embarrassment" with the sub-layers of desire or its permanence and "complaining of separation and embarrassment" with the sub-layers of fear of it happening and praying for its elimination.

Due to its national and popular origin, research in songs is an efficient way to understand the literature of mass stability. In this regard, historical songs from the beginning to the constitutional period, which have rhetorical features, have been studied and analyzed, and the characteristics of historical songs have been studied, and these songs have been examined in terms of application, content and content by providing examples. The findings of the research show that until a significant incident occurred in the community, anonymous poets immediately composed compositions with taste and put the song on it, and this process continues to this day with special literary beauties. Using song format for political expression shows the awareness of artistic aesthetics to influence the audience. These songs express the pain and suffering of the people and the struggle against oppression, and these songs are categorized into sections of ballads and local political and social songs, including critical local songs and biographies of political fighters. The language of these songs is simple and slang, and since these songs are related to the social life of simple living people, they pay less attention to imagination and the words of these songs are mostly accompanied by musical instruments.

In this essay, the mystical song in songwriting is examined, the oldest Persian poetry has been found among the songs. The song is a general term used to refer to various types of poetry melodies or music accompanying, in particular Fahlaviyat, couplet, quatrain, and folkloric song. Happy song is one of the most profound thought that could be expressed itself in our song. First, we define the song and its characteristics and its course in the past and today, and then we will focus on the characteristics of the rhythm and language of the happy songs. The results show that within the happy context, has formed a significant part of the songs. These songs are divided into wedding songs, joy songs, percussion songs and spiritual songs. The language of these songs is simple and folk, and the music has been made mostly based on the words of these songwriting.

This article seeks to examine the functional types of local poetry and music of Sangesar which are registered as an intangible cultural heritage of Iran in December 2011. Sangesar, one of the cities of Semnan province, which is actually the residence of the Sangesar tribes during the winter, is currently known as Mahdishahr. The local music is a part of Sangesar folklore, which includes local songs as well as reed instrument (Lale), which has become popular in Sangesar due to its use by shepherds. In order to collect and study the songs, interviews and recording of the musical samples were done. This article deals with the typology of Sangesari songs and poems from a functional perspective with a descriptive-analytical method. The results show that the local music and songs of Sangesari include various types of servers, lyric poems, and work poems that are related to migration to summer and winter and protect the memory of local heroes and their heroism. The most frequent songs are lyric songs and ritual songs, especially Nowruz poems.

By studying the ancient and folk roots of religious and mystical songs, we can find the oldest Persian poems in these songs. In the present article, by using analytical-descriptive method, we compare religious songs with mystical ones from the perspective of performance. One of the most important issues regarding the composition and performance of these songs is the precise identification of the fields of religious and mystical songs. Thus, the form, language and content of the songs are described and analyzed.  The research findings show that religious and mystical themes, as two different areas, have formed the main theme of the songs; the content and performance of the songs show the difference between the two themes, and the songwriters were aware, from the beginning, of the difference between the two fields of thought, mysticism and religion. The composers and performers of religious songs are darāvish, chāvosh-khānān, tazieh-khānān and noha-khānān. The creators and performers of mystical songs are called āshiq, suz-khān, beit-khan and tasnif-khān.  The tone of these songs is sincere and the music is mostly based on the lyrics.

Song is a general term that refers to a variety of melodic or accompanying forms of poetry, especially Fahlaviyat, quatrains, Rubaiat, and Tasnif. Local poetry contains some types like Garayeli in Azarbaijan, Goorani in Kordestan and Kermanshah, Sharbeh in South, Sharafshahi in Gilan, Sekheshti in Qoochan and Deyhoo in Bashagard which in this paper some samples of them are presented. In this article, the themes of love songs have been studied and classified in a descriptive-analytical research method. The statistical society is also scattered books of native songs and recorded works of music of Iranian singers. The language of the native songs is simple and slang and since they are related to the work and effort of simple people, they pay less attention to images. Most of these songs are accompanied by musical instruments. The conclusions show that the songwriters bring a variety of themes, such as complaining about getting away of sweet heart, the difficulty of the path of love, the opposition of the elders in the union of two beloveds, Kissing, loyalty, describing the beauty of the beloved, seeking attention and wishing to join, seek to show the themes of "presence next to beloved" with the sub-layers of desire or its permanence and "complaining of separation and embarrassment" with the sub-layers of desire or its permanence and "complaining of separation and embarrassment" with the sub-layers of fear of it happening and praying for its elimination.

The various themes of the song, due to the wide audience, have an undeniable effect on the minds and literary knowledge of the general public, and these themes have found functions such as information, education and propaganda due to their great capacity for designing various themes. This article aims to represent the themes used in the songs and by studying the main sources and analyzing the data and the themes of the song and composition are classified in terms of application and content. Iranian composition and music is one of the most prominent elements shaping contemporary culture. The research findings show that the types of songs are categorized in terms of themes into twelve sections, which include themes of love, happiness, children, mourning, work, mysticism, religion, customs, politics, entertainment, propaganda and sports. Romance themes are the highest paid in songs, and songs with entertainment themes are less common than other themes. In modern contemporary songs, there are new themes of advertising and sports that have not been seen before, and in the same period, due to the industrialization, composing work songs has decreased.

"â?i:ka" is a lullaby in the region of Sistan. Given that "â?i:ka" is usually sung to the child, its melodiousness and musicality are of great importance, and the present article aims to see what characteristics can be enumerated for the Melodiousness and Euphony of Sistani "â?i:kachr('39')s"? The result of the research shows the use of prosodic rhythm, rhymes, and rows in the song. So far, the "â?i:ka"of Sistan have not been collected in an independent book, and there are only some books that have dealt with the folk culture of Sistan, mentioning some examples of the â?i:ka. In this article, two research methods have been used. Some of the â?i:kachr('39')s that have been present in various works have been collected by the library method, but most of the ”â?i:kachr('39')s” used in this research have been collected through field method. Then, using the analytical method, â?i:kachr('39')s melodiousness and its various aspects of music are described.

>Contemporary fictional literature has had a special look at the elements and components of Shiraz folklore in the period of Pahlavi. In the present study, considering the extent of the components of folklore, the reflection of Shiraz has been studied popular literature through of analysis of 20 fictional works including fifteen collections of short stories and five novels. The collected data in this article based on library resources have been analyzed in a descriptive-analytical method. The results show that the use of Shirazi dialect, Shirazi and non-Shirazi proverbs and Shirazi songs and chansons have been abundant in Contemporary fictional literature, but fictions(Matal) and stories have had a small presence. Some of the used Shirazi chansons and fictions indicate some of the social and historical events of Shiraz during the period of pahlavi, such as the story of Saif al-Qalam, the uniformity of clothes, and the situation of the wage of employees of the first textile factory of shiraz. generally, according to the style of writing and indigenous interests of fiction writers, the reflection of Shiraz popular literature in Sou va shoun, patchy pants, a city like Behesht, the Alley of Zanboorakkhooneh, The Patient Stone, the last light, The extinguished oven and Barooni has been more considerable compared to other Literary works.

In this essay, inside the work of songwriting is examined, the oldest Persian poetry has been found among the songs. The song is a general term used to refer to various types of poetry melodies or music accompanying, in particular Fahlaviyat, couplet, quatrain, and folkloric song. The "work " is one of the tracks that have been featured in the song. First, we define the song and its process in the past and today, and then we will look at the samples, features and language of the songs. The results show that within the framework of work, a significant part of the songs has been formed. These songs are divided into breeding, shepherding, shilling, gardening, fishing, and so on. The language of these songs is simple and folk.

In Persian literature, song has always been a generic term that refers to a variety of music-accompanied poetic formats (especially Fahlaviat, couplet, Rubaie, and Beat). The contemporary song was written in the traditional way at the beginning of the last century. This poetic form was influenced by the literature of the return period and the impetus to imitate and revive the glorious era of ancient music played a special role in the emergence of the styles of Ali Akbar Khan Sheida and Aref Ghazvini. In the middle of the century, however, the modernist movement permeated Persian song and music and established a new kind. The main purpose of this study is to investigate the evolution of contemporary songs. A song that transcended the Islamic Revolution of Iran after the historical developments of the Islamic era, wars and peace, movements and became what we are seeing today. Ultimately, the language of today's tranquility seems to have become more intimate than before the revolution, which is due to the social and cultural developments of our society today. To better understand this concept - as needed - a brief history of songwriting and definitions of the fundamental concepts of this literary branch of music is provided. This research is a descriptive-analytic one that uses library tools to understand the history and view past research and content analysis.

‘Sit biaram’ means ‘I am bringing for you’ which describes the purpose of bringing gifts for the bride by the groom. This song is usually sung by a group of women without any accompaniment. In this article according to the library resources, aesthetic application of ‘Sit bairam’ song, which have been collected as a field study is analyzed in two sections of surface structure “sounds, words, music and imaginary forms” and deep structure or content “emotion, thought, and meaning”. A review of literature shows that in the section of surface structure in verses, the “sounds” creates the movement alongside with music, sometimes with calmness and sometimes with roughness. The words companion has an effective role in the emotional associations and meaning of a poem. In some distiches rhythm and rhyme are problematic, but they are excusable and can be ignored. Indigenous music of verses is indebted to arrays of phonotactics, wordage wording and synonymy respectively, and also spiritual music consists of symmetry, poetical aetiology and exaggeration. “Metaphor” and then “simile” are effective in the creation of imaginary forms. From emotional point of view, in the deep structure section, passion and happiness are noticeable in distiches, which owes it to sounds, words, and their combination, and is raised from the dominant theory of literature. In terms of meaning and in order of frequency, topics such as “love”, “natural resources”, and “demands for rural and nomadic life” are evident in the distiches.

Oral and folk literature is a good platform for understanding the customs of each region. In most parts of our land, there are many local songs. One of these types of songs is poems about marriage rituals which are popular among people and are sung in different cities. Among these poems, various customs and rituals of the people can be found out.
  In Jahrom city of Fars province, most of the local poems are dedicated to songs about wedding and marriage. The purpose of this field and library research is to express the characteristics of the wedding poems and to classify them in terms of contents and matters. The findings of this study show that wedding poems in Jahrom city can be divided into two main parts: (A) Poems describing the bride and groom; (b) Poems that illustrate the customs and habits of the people of this city with various parts, such as banquets, taking furniture, bathing, and bridegroom dressing, the bride's farewell, and preparing the bride and groom's room.

One of the varieties of oral literature is the song. The songs in the Bakhtiari culture and literature are widely used. Language as a part of human society has a significant role in the forming of the customs and culture of every nation and community. The role of women in the lyric poetry is very significant and chief. In this research, we investigate the role and position of woman in oral literature especially Bakhtiyar's songs. In this regard, the songs were divided into eight categories. Subsequently, the role of women and the analysis of songs on the determination of women's role have been studied. Then, we find that the Bakhtiari woman, in many cases, is a self-constructor, speaker, and designer in relation to songs, and used them in most stages of their lives and everyday tasks. Some sample of songs are about the women but not created by them.