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

The musical system of the language arises from the harmony of words and the phonetic and phenotypic harmony of the linguistic structure, the coherence and sequence of consonants and vowels, and turns ordinary speech into an artistic expression, and the more a literary work can use more dimensions of music, the more beautiful and effective it will be. The melody of the poem includes outer, lateral, inner and spiritual music, which in the present research, the last two dimensions are analyzed in the works of Ibn Mu'tazz, one of the prominent poets of the Abbasid era. Ibn Mu'tazz was born in an era in which the innovative use of poetry was popular among poets and writers, and his poems were in line with the prevailing trend in the literature of his time, full of arrangements and the use of literary arts, and at the same time, they were fluent and far from complicated. The purpose of the present research is to investigate the musical structure of Ibn Mu'tazz's poems in the field of asceticism in order to measure the phonetic and phenotypic harmony of meaning and basis in his compositions and finally it comes to the conclusion that: The choice of words served the intended meaning of the poet and was not used solely for the purpose of creating a beautiful format and rhythmic playing of the poem, and this is one of the strengths of his poems in conveying ascetic meanings and making an impact on the audience. In the field of spiritual music, the poet's attention is focused on the use of arrays such as tabaq, counter and assimilation of adjectives, which, in addition to the balance of verses and the creation of a rhythmic rhythm, carry the meaning of speech. The most prominent musical role in Ibn Mu'tazz's asceticisms is played by inner music, in which most of the words are played by arrays such as word arrangement, repetition of letters, repetition of words at the beginning of verses, tasdir and repetition.

Poetry is the transmission of experience through the presentation of unexpected methods. Composition of phrases is one of the highlighting methods. Maulana Mohammad Baqer Khorde is one of the prominent poets of the Safavid era. He is one of the phrase composer poets. Various musical effects are seen in the poetic compositions. Music is one of the building elements of poetry, which is divided into three categories. External music (prosodic aspect of poetry), side music (epistrophe and rhyme), internal music (types of balances resulting from verbal communication and semantic proportions). In this article, an attempt has been made to examine the poetic phrase compositions of the Diwan manuscript of Maulana Mohammad Baqer Khorde Kashani's poetry from the perspective of inner music. The obtained results show that he used internal music to create a kind of unity in The axis of companionship and succession in poetry. In addition to the appropriateness, beauty and effect of the words, the linguistic richness of the poem and the semantic load of the compositions are also added. He has shown that he has achieved the ultimate goal of poetry, which is to express the meaning and inner meaning of poetry, by observing the appropriateness and connection between music and poetry with other elements.

Music is one of the most important elements of poetry, as it brings words to life and gives them meaning. Hafez Rajab Borsi Helli (744-813 AH) was a poet from the Mamluk era who wrote eloquent and touching poems in praise and mourning of Ahl al-Bayt (AS), and music played a special role in his work. The purpose of this research is to explain the semantic function of different types of music in poetry, and to explore Borsi Helli's position as a Shiite poet whose work is characterized by both verbal and structural beauty in service of meaning. Using a descriptive-analytical method, this article analyzes the semantic and aesthetic function of music in visual imagery. The findings show that Borsi was successful in using both external and internal music to enhance his poetry. In terms of external music, he established harmony between his poetic themes and the chosen weight, creating a strong bond between his poetry and its music. He also used rhymes effectively to create different effects on readers. In terms of internal music, Borsi used both the music of sounds (such as repetition and puns) and spiritual music (such as Moraat al-Nazir, hint, and other innovative musical arrays) to create coherence and harmony within his work. He incorporated special musical elements into his poetry that added enchantment to songs and voices, helping audiences experience spiritual pleasure while conveying meaning effectively. Overall, this research highlights the importance of music in poetry, particularly within the context of Borsi Helli's work.

"Alavi poetry" is one of the main branches of religious poetry that, disregarding scarce research on its content and context, has not been thoroughly studied yet. The religious mission and function of these poems depend on their profound influence on the audience. Given the vital significance of music in the structure of a poem and its influence, the present study is going to investigate the function of the musical elements in 4 external, lateral, inner, and spiritual levels using the descriptive-analytical method. To find out how the musical elements work in Alawi Poetry and how the Alawi poets use musical elements in their poems, three sets of Alawi poems containing 158 poems have been analyzed. The findings of the study suggest that the musical elements were more prominent, creative, and powerful in the two outer and lateral levels. However, Inner and spiritual levels are marginalized in these poems.

One of the effective factors in strengthening the artistic and aesthetic image of Nizar Qabbani's odes is its beautiful and appropriate musical structure. This famous poet strengthens the musical unity by artistically applying verbal and spiritual arrays. The significance of this study is to examine the aesthetics of the failure image in the poet’s poetry and to indicate its connection with music. The aim of this study is to demonstrate the effect of the beauty of harmonious musical phenomena in the ode. The study also tries to examine the role of music in the failure poetry of Nizar Qabbani. To this end, the descriptive-analytical method is used to analyze the inner music of the failure poetry. The research findings indicate that the poet singles out words and letters appropriate to the his current situation and utilizes verbal and spiritual arrays such as pun, symmetries and contradiction along with the use of symbol and myth to strengthen his musical unity and through which reveals his inner and intellectual challenges in the failure poetry

Music and poetry are tied together in different ways. Contrary to the group's opinion that poetry music only depends on its vascular weight, each poem can be examined from four musical dimensions. The outer music, which is the weights of the coronary arteries, the side music, which is the same as the rhyme and rhyme, is the inner music which is the most important poem music, and in fact is the set of harmony that emerged through the similarities and differences between consonants and vowels. It comes with poetry from the verbal industry, and spiritual music is a poem about the spiritual industry. Poetry music provokes the prominence of the word. Therefore, the present paper deals with the descriptive-analytical method based on library studies, while defining aesthetics from the viewpoint of intellectuals and generalizations about it, examines the musical elements of Fayyad Lahiji's poems, relying on inner and spiritual music. And about 10 verbal and 8 spiritual industries.

Aesthetics has been a subject to analysis since the time of Socrates and even before his time in various ways by the Greek philosophers. The idea of aesthetics reached its peak of excellence in the classical era. The introduction of aesthetics using the scientific method dates back to the eighteenth century. Alexander Gottlieb Baumgarten was the first to use the term aesthetics. Music is fundamental to the structure of poetry. In fact, poetry is like songwriting that affects the feeling. In most of his poems, Hemin has given a great importance to the music. This paper is an attempt to investigate the aesthetical perspectives in Hemin's poetry. The aesthetics of music and the imagination of Hemin's poetry are considered as the main factors in the formation of a poetic image. Hemin's poetry is full of such enriching characteristics like fantasies, profound thoughts, overwhelming emotions, and linguistic fluency.

Poem is a verbal art and music is necessary for the nature of poem, for music transfers latent meaning and sentiment of the poem to the addressees and causes harmony in the poem. The music is a special system that spreads over all aspects of the poem. The music of Persian poem in different era has been in four types: "external music, lateral music, inner music and immaterial music."In the contemporary poem, unlike classic poem, less attention has been paid to external and lateral music, instead, poets have considered inner music for enriching their music of poems. Among arrays, repetition has many functions in the inner music. It is necessary to note, what is called oral array, is in fact the art of repetition or phonotactics because in its common form it is just the repetition of phonemes.In Forough's poem, repetition has the most common usage. In this investigation an attempt has been made to study Forough's poem and the repetition of phonemes, and also the role of repetition in his music of poem. The other functions of repetition, in addition to its musical role, are; the unity between poet and addressee, enriching the lexicon, high lighting the content, making new meanings, influencing the poet's inner sensation, commenting and describing contents. Creating unity between tone and thought, creating new meaning in poem, keeping its mental image are other functions which have been studied as well.