جستجوی مقالات مرتبط با کلیدواژه "موسیقی" در نشریات گروه "ادبیات و زبان ها"

One of the most critical elements that need attention in the analysis and comparison of the poetry of the two poets is the discussion of external and collateral music of poetry, namely, attention to how another poet influences a poet in terms of meter, rhyme, stanza, and the manner of composing. In this study, through an analytical-descriptive and statistical approach, the extent and manner of the influence of the musical elements of poetry, meter, rhyme, and stanza in the ghazals of Suleiman Babani "Katib," a Persian-speaking Kurdish poet, from the ghazals of Bidil Dehlavi have been investigated. The results indicate that in the realm of external music, the meters of Ramal, Hazaj, and Motakarre have a high frequency in the ghazals of these two poets. The predominant meters are pleasant and abundant. In collateral music (stanza and rhyme), the repetition of the rhyme, the loud vowel "A," and the parallel meter in the rhyme of the ghazals of both poets have a high frequency. Group stanzas, which are complex and unprecedented, are familiar in the ghazals of both poets. Totally, there are 37 common stanzas, which account for 22.55%, and 18 common stanzas, with 26.86% in terms of meter, rhyme, and stanza.

According to some scholars, music is reminiscent of the cosmic song, where all of xistence partakes in a rotational and cyclical dance. For Sufis, Sama evokes the ystical dance between humans and God in the primordial realm and the covenant of Alast. In he ancient cultural heritage of Iran, the concept of Sama has been extensively explored. Suhrawardi, the reviver of Illuminationist philosophy, discusses Sama from his unique erspective in his Persian mystical works. Given the significance of this topic, this research aims to answer two questions: First, what functions does mystical music (mystical Sama) serve according to Suhrawardi? Second, how does mystical music aid us in reaching the truth? The research methodology involves direct reference to Suhrawardi's Persian mystical works, with a description and analysis of his views on Sama.Suhrawardi identifies three functions of Sama: It brings joy and delight to the distressed soul and sorrowful mind. It creates motivation and enthusiasm in the seeker on the path to the truth. It empowers the individual to reach the truth and prepares the necessary groundwork for receiving spiritual knowledge.

 Gul Mohammad Khan Zeib Magasi is one of the powerful Baloch poets who wrote beautiful poems in Persian language. In this research, the style of his poems has been examined in terms of language, literature, music and thought.

 Ethods: The present research was carried out using a descriptive-analytical method based on library sources, and its statistical population includes two books, Zeib Namah and Kharineh al-Ashaargol, Mohammad Khan Zeib Magasi.

 His poetry is simple in terms of language and in terms of vocabulary, 56% of the words in his poems are in Persian language, and the special dialect of Balochi can be seen in the use of some words. Some of his poems have epic language as well as mystic and Qalandari words. From a musical point of view, the poet has often experimented and invented new tunes, so there is a wide variety of prosody weights in his poetry. In terms of side music, about 37% of his sonnets have lines and he often uses repeated lines. The abundance of expressive arrays of similes and metaphors from a literary point of view is so great that 65% of his similes are sensory, and comparing the types of similes, we see the highest frequency of that simile and the lowest frequency of complete simile. Also, the metaphor of Makaniyyah has a higher frequency than that of Masraha. Innovative arrays such as hint, contrast, similitude, pun, phonetic arrangement and repetition are also frequent in his poetry. Comparing the types of repetition, the frequency of word repetition is about 55%, which is considered a high frequency. From the intellectual point of view, his poetry is mostly spiritual, mystical and romantic, and instructive components and social elements are also among the content elements of his poetry. In his overall view, he has many structural innovations, and intellectually, he is influenced by the mystical, Qalandari and romantic poetry of previous poets.

Gul Mohammad Khan Zeib Magasi"s poetry, while simple, is full of artistic uses of literary arts, and its innovative point is in the use of different weights and the invention of fresh bahor, all of which serve to express romantic, mystical and educational themes.

Safavid and Ottoman governments were contemporary to each other and had many cultural and artistic commonalities. One of these commonalities is in the field of music, which is worthy of investigation from various aspects. In this research, with descriptive-analytical, historical and comparative methods, the differences and similarities of Safavid and Ottoman music in the stringed instruments found in the paintings have been studied. Paintings, as the only visual documents, show the changes and diversity of instruments better than any other source. In the field of stringed instruments, the images of the Safavid and Ottoman eras have similarities and differences. These two periods are common in some musical instruments and have been influenced by each other. Common stringed instruments such as harp, oud, tambur and fiddle are depicted in the paintings of the Safavid and Ottoman eras. In the paintings of the Ottoman period, stringed instruments such as Qopuz and Shahroud can be seen, which are not present in the paintings of the Safavid period. Based on the structure of the instruments in the paintings as well as the historical precedence and delay of these images, it can be concluded that the influence of the Ottomans was greater than the Iranians, but more research is needed to achieve the certainty of this achievement.

Linguistic archaism or archaism is one of the types of language deviation which is the factor of distinguishing and highlighting the language of poetry. Even though contemporary poetry is trying to get closer to the language of speech and the living language of the day, with all these different causes and reasons such as the influence of tradition, musical necessity, rhyming, verbal and spiritual originality, etc. Archaism in the language of contemporary poetry. Bahman Salehi is also one of the poets who chooses the language of time in his poetry and has a contemporary language, however, his poetry is not devoid of linguistic archaism, and in the poetry of this contemporary poet, there are reasons such as the influence of the language of traditional poetry, musical, rhetorical and semantic factors, the necessity of rhyme., verbal and spiritual originality and some other factors of linguistic archaism.

The current research is a basic and applied research. The work method is analytical-descriptive and the method of collecting information is library.

The result of the present research shows that Salehi used linguistic archaism for various reasons and that linguistic archaism in his poetry has diverse and multiple origins. He has identified the language of his poetry by using linguistic archaism, and archaism has become the linguistic highlight of his poetry. The influence of tradition, especially the tradition of lyric poetry, is one of the factors that causes archaism in his poetry.

The result of the research shows that factors such as the influence of the tradition, especially the tradition of lyric poetry, the requirement of rhyme and music, rhetorical and original verbal and spiritual causes, the meaning and semantic-phonetic characteristics of some archaic words and their preference over contemporary words. The presence of these words in Salehi"s poetry has been the reason.

From ancient times, art has been a tangible expression of our deepest beliefs, reflecting human spirituality and identity, often intertwined with religion. Sacred art transcends mere emotional responses, using simplicity and essentialism to hint at the ineffable. It mirrors a higher reality, symbolizing the divine in earthly forms and inviting contemplation beyond the material world. Through allegory, sacred art reconnects with the essence of creation, revealing the symbolic nature of existence and freeing the human spirit from worldly attachments. This study, employs library research and a descriptive-analytical approach with an intertextual perspective to explore the roots of sacred art in the Yaresan region, focusing on traditionalist views, particularly those of Seyyed Hossein Nasr. In Yaresan sacred practice, Sema and music play central roles. Sema involves a collective circular dance during the "jam" ceremony, accompanied by prayers and music. Music serves as a channel for conveying spiritual truths, with the tanbur as the primary instrument in both Sema and other religious rituals.

One of the inherent tasks of literature is the creation of art and beauty Poetic emotions are produced in the form of imaginative language and with appropriate and pleasant music it finds a place to influence and inspire. The use of aesthetic elements in poetry and the audience's reception of the poet's emotions and feelings have a great impact on understanding the beauty of poetry. Nadem Qaisari is one of the contemporary Afghan poets who is not well known in the literary community of Iran. In this study, which is conducted with the aim of knowing the artistic arrangements and beauty of Nadem Qaisari's sonnets, the authors make an effort to examine the outstanding linguistic, musical and visual elements in the poet's sonnets and find out how they are related to poetic emotion. The results of this analytical-descriptive study show that Nadeem's sonnets are full of linguistic extranormatives, phonetic and musical highlights, harmony of image and emotion, original similes, special compositions and thematizations based on mythological and historical concepts. He has emphasised the aesthetic and artistic aspects of his poetry with a special view of the linguistic abilities and the different components of language.

Every language style is made up of phrases and words that make that language have spirit and meaning. Language plays an essential role in communicating with others, but if music is given sufficient attention in addition to these words, a better result will be obtained and the desired meaning will be accurately and well conveyed. Therefore, music is very important in language and poets and writers can use it to increase the literary value of their words. The Holy Quran is the most sublime text in which the words convey the desired meanings in the best way. In the Holy Quran, the music of words and phrases has been chosen in the best possible way, and the examination of different surahs shows well how the music of words and phrases in the verses has helped convey their meaning and concept. This research has been written with a descriptive analytical method and using library resources to examine the Taqvir surah in terms of its musical layer and to reveal the role of musical elements in expressing the meanings of this surah well.  Finally, it was concluded that the music governing the different parts of this surah fits well with the intended meanings and concepts; Whether the music is derived from the repetition of letters and words, whether it is internal music, as well as the music in the upper letters, which fluctuated from short syllables to long syllables, and in categories such as expression after ambiguity, warning and informing, and other concepts well showed itself.

Literature and music have a close and complementary relationship with each other. In performance, poetry is the infrastructure of mind and the language of music, with which it has a strong connection. In fact, what melodies and musical instruments express through the sounds, the poetry manifests more tangibly via words. In this interdisciplinary research, the induction of sounds, due to the repetition of consonants and vowels, has been examined in the light of Murice Gerammont's theory and via a descriptive-analytical approach. Accordingly, the pragmatic axis shows the angles of inducing meaning and, more importantly, the effectiveness of poetry and the way music and poetry influence each other, which is examined via the introduction of examples of vocal music and, specifically, Akhavan Sales's "Dandelion" performed by Mohammad Reza Shajarian. Each vocal division in Iranian music has its own characteristics and expresses different moods, and both the composer and the singer should select the music division and vocal corners with the consideration of the meaning and the content of the selected poems. The results show that sounds and words, with clarity, brilliance and darkness, have been successful in conveying the two discourses of slight hope and overwhelming despair and that it is the sound which determines the color of the feeling of the music and instruments and makes the poetry and musical works more effective and lasting.

From ancient times, there have been references in texts to commonalities between music and prosody. If some musicians consider the origin of Iranian classical music to be prosody and encourage their students to learn the two- and three-syllable metric changes, their purpose is to organize rhythmic circles and find new rhythms, and they did not mean that the structure of music was created in imitation of the prosody. They made prosody the basis of comparison with music in order to have a better understanding of the structure of music through simulation. The temporal primacy of music over prosody and the unification of the structure of music in the ancient world to the contemporary age require that prosody is arisen from music. However; in some cases, the impact of prosody on music.On the one hand, the dimension of skill to music makes its passionates unable to obtain a proper understanding of it even by studying the structure of the music.This article aims to compare the structure of prosody and music, (by mentioning the similarities),  provide a special picture of the correct understanding of the structure of music for those who do not know about it, especially the prosodies, and to describe the undeniable role of music in prosody.In addition, the influence of prosody on the structure of the music and its role in the organization of Iranian classical music are determined. The data of this study was collected by library method (and in few cases, field) and the research was conducted with theoretical and library methods , describing and comparing the data.ConclusionsThe equality of musical notes and  prosodic syllables in terms of consonants and vowels. Asbab, Otad and  Faselh have dual usages. Expressing the characteristics of the tetrachord and reaching the conclusion that among the ten main prosodic pillars , only three pillars  are corresponded  to the music tetracords. The apperance of tetracords with 5 beats and pentacords with 6 beats in music, by  mimicing  some prosodic pillars such as Motafaelon and Mafaelaton. Both classical music and the prosodic meters are the result of the combination of tetrachords and prosodic pillars. Meters derived from main prosodic meters are like tonalities creating from one main Maqam. Modulation does not occur in the manner of music in poetry. But perhaps changing the content in poetry can be considered as a kind of modulation.The Proof of Maqami music has been able to be modulated at two levels (internal-mode circulation) and (external-mode circulation)  since farabi's   time. Musical circles are based on the imitation of prosodic circles. In the prosodic circles,there are two meters, standard and non-standard, with the exact formation of music modes.

The use of music is one of the most useful techniques in poetry, which poets use to convey their thoughts. Owing to their mastery in music, some poets have employed it to express their reflections and to portray poetic images more than others. The frequency of the discourse of music in the poetry of this group of poets and the imagery created through it shows their mastery over music, both in terms of theory (in topics such as organology and the study of tunes and melodies) and in terms of practice (which is performing and composing music). Using a descriptive-analytical method, the present research aimed at investigating the means of the theoretical and practical music in the divans of two of the foremost representatives of the Indian style (sabk-e Hendī) of Persian poetry, i.e. Saeb Tabrizi, the leader of the mode called delicate imageries (nazok-khiyali), and Bidel Dehlavi, the forerunner of the mode called exotic imageries (dour-khiyali). First, by giving examples, the concepts of music in the poetry of the two poets were examined and then both views were compared in the field of music. The results indicated that mastery of music would highly contribute to the decoding of secrets of the poems. In effect, without finding the musical roots (as a specialty and profession) it would not be possible to gain the correct and precise understanding of some couplets. In fact, this method of applying musical concepts is not a sign of distant knowledge of the field, but it implies a kind of scientific and close knowledge. The result of this study – which is the explanation of the combination of theoretical and practical music in the two modes of delicate imageries and exotic imageries of the Indian style – indicates the three main branches of the association network, the theoretical-practical knowledge and the link between poetry and music.

Elegy has always been a popular genre, especially in poetry. This type of composition, due to its special subject matter, has special features and crafts to convey the message and relate to the audience. Composing poetry about Ashura, as one of the manifestations of love for the family of Prophet Mohammad (PBUH), has especially has received more attention after the victory of the Islamic Revolution, and many poets have experimented in this field. In this relation, the poems of Qaisar Aminpour as one of the poets of this group received much attention. In his Ashura poems, a cherishing and warm verbal language flows along with the clarity that can be seen in his other poems. In the present study, the element of tone was studied with respect to the sincere and indirect transmission of the message of sorrow and grief. Considering its importance in conveying the implicit message of the text, it was revealed that the poet has observed the tone and subject matter of the poem in choosing the form. He has considered the rhythm and its propriety with the sad atmosphere of the poem in order to choose the metrical pattern. He has also used rhyme and rhythm and their phonetic compatibility as an important principle to align with the audience. Aminpour has also made use of figurative language, especially metaphors to depict the poetic landscapes the musicality of sounds and the magic of the proximity and contiguity of letters as a style to create a more emphatic tragic tone in Ashura poems.

One of the sub-branches of Ghanaian literature in Persian is Ḥabsiyeh or prison name. Among Iranian poets, Masoud Saad has the most imprisonment. His poetry of imprisonment in the context of words expresses various tones that play a significant role in creating atmosphere and conveying his message. The constituent elements of different tones in Abyssinia have influenced the connection with the reader and the aesthetic of his poetry. The purpose of this research is to investigate the effective factors in creating tone and its types in Masoud Saad's habisiyeh. In this research, we have investigated the factors that were effective in the variety of tone in his poetry with library tools using descriptive and analytical method, and we have come to the conclusion that many elements such as images, music, sounds and tones suitable for confinement, weight, vocabulary, from The factors that create the tone in Masoud Saad's imprisonments are: he has used protesting, aggressive, complaining, sad, helpless, etc. tones in making his imprisonments. This variety of tone has an effect on his success in conveying the message, for this reason, without understanding the type of tone, it is difficult to understand the meaning and structure of his poetry

Musical Terms Ambiguity Techniques in Assar-e-Tabrizi in Comparison with Nezami andHafizAbstractBeing correlatives, poetry and music have always had an ancient affinity standing the question of time, even though over the course of centuries each has evolved into an independent field. In some poets, ambiguity stands out as a literary device and due to the use of ambiguous words and sentences attracts the special attention of many others to the point of dictating itself as a signature feature of style, and still more so when it blends with music to take the reader by wonder and surprise. Assar-e-Tabrizi is a poet, beside a few others, to have achieved perfection in using the technique. In this study, all the lines in Assar's couplet, The Sun and Jupiter(Mehr Va Moshtari) and the poems of Khosrow and Shirin composed by Nezami, were carefully examined in search of instances of musical ambiguity to be compared and contrasted with the sonnets by Hafiz, that is the three poets were contrasted. Findings show that Assar and Hafiz have a lot in common when it comes to musical ambiguity, with Assar making a few innovative moves absent in Hafiz, the term "Shahnaz" being one such move. In fact, the claim can be legitimately made that concerning ambiguity and in particular, musical ambiguity, Assar is as great and distinguished a poet as Hafiz and he has used these literary items more than Nezami.Keywords: ambiguity, Assar, Hafez, musical terms, Nezami

music has a long history importance of music in the cultural background of the society, the association of poets with musicians, their activity in the field of music, has created a link between music and Persian poetry. in this field influenced their poetry. In the present study, the poems of three musical poets: Ali Akbar Shida, Rahi Mo'ayyeri, Mohammad Hossein Shahriar have been analyzed from the perspective of paying attention to vocal music and its effect on their poetry with a stylistic approach. Ali Akbar Shida is a great ballad composer and all his poems are composed, Mo'ayyeri wrote several ballads and had direct contact with musicians. Shahriar himself was a musician and while socializing with musicians, he also played an instrument. The results of the research show: that poets' familiarity with vocal music and collaboration with musicians have influenced the music of poetry, the beautification and content of their poetry. The music of their poetry is in accordance with the rhythm and harmony of the music, as it is suitable for singing, and most of their poems are composed. . In the aesthetics and content, they used musical terms, there are many arrays of similes, allusions, puns, and Congeries. n the theme of the poem, in the lyrical content, they have used musical words, they have expressed the description of love, persecution and unfaithfulness of the beloved, personal and social sorrows, loneliness and solitude with musical terms.

Music is very important in the mythology of different nations. This science, as one of the parts of theoretical wisdom, has an unbreakable connection with literary mysticism through similarity in intuitive and inner perceptions, metaphysical dimension, infallibility, etc. The conceptual expansion of music originated from here, which led to liberation from the monologue and one-dimensional atmosphere and to the music of the cosmic spirit, which gradually penetrated and gained strength in mysticism. The perception of music, which is a manifestation of mystic hearing and the resurrection of the worlds and spiritual states of the seeker, reveals and intuitively finds a celestial and cosmic music and directly engages emotions and feelings.Molavi has a very aesthetic view of receiving music, and because it is at a high level of heart import in esoteric receptions, and in other words, it is a symbol of all systems, customs and habits, the connection between his view and his thoughts with cosmic music is important. Show

Music is one of the prominent features of language and music of speech is one of the most prominent manifestations of poetry. Poetry does not have much effect and beauty without having musical aspects. One of the main characteristics of Nimayi poetry, in comparison with classical poetry, is the evolution in the types of verbal music and the use of its types. In this article, which has been done in a descriptive-analytical manner, the types of music (external, lateral, internal and spiritual) in Nosrat Rahmani's "Koch va Kavir" collection have been studied. The results show that Rahmani in this collection has used internal music (types of repetitions and puns) to create a kind of unity in the axis of companionship and the effect of his words. To create fit, beauty and rhythm of his poems, he has used external and side music. In this section, Rahmani has used about twelve prosody weights. Most of his quatrains in this collection are without "rows" and only the rhyme forms the side music. He has also used the aesthetic elements of speech such as (simile, metaphor, proportion, paradox, sensuality, symbol, permissible and contradiction) to add semantic richness and strengthen the spiritual music of his words. And finally, the use of pure and beautiful combinations with respect to the connection with music and imagination, has caused it to be closer to the ultimate goal of poetry.

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).

One of the important manifestations of music in Hafiz' poetry is the use of its elements and terms to create verbal beauties and imaginary as well as to reflect various ideas. Among the literary creations made with these elements, personification and its dynamism are of prime significance. The musical elements in Hafiz’ poetry are personified in a way to express human emotions and the thoughts which are in fact the main concerns of the poet.In the present study, an attempt has been made to investigate the most prominent personified manifestations of musical elements in Hafiz' poetry according to the structural and musical features and nuances of each and determine its function in reflecting the poet's thoughts. In addition, we have tried to make sufficient use of musical sources close to the poet's age to analyze musical elements.

Nizami has used many techniques to decorate his masterpiece Khosrow and Shirin. One of these techniques creating musical effects, foregrounding, literary taste, and individual style is using adjacent similar pairs of words; pairs of words with a high co-occurrence which are used intentionally and wittily to make poetry free from automatization. Adjacent similar pairs are employed in the work in two ways. A number of them (such as noqre and naqare, nâfe and nife, etc.), as verbal or conceptual figures of speech, have been termed pun, repetition, interrelated terms, and the like. Some others having only similar phonetic structures have not been yet given a specific name as a type of figures of speech (for instance arqanooni and arqavâni, khask and khastegi) all the verses of Khosrow and Shirin were dealt with, searching for similar pairs of words. The study aimed to introduce the stylistic feature and foregrounding techniques express the importance and frequency of the similar pairs of words and show how their use help prevent the automatization of poetic language. The result obtained from the research demonstrates that the presence of adjacent similar words is systematic and reveals a variety of functions. The creation of a variety of music, tonalities, and thought-provoking literary foregrounding has required Nizami to repeatedly use adjacent pairs. The research approach is completely new and has expressed a stylistic feature that has been neglected despite its significant frequency in Khosrow and Shirin as illustrated with several examples.