نوع مقاله : مقاله پژوهشی
نویسنده
گروه زبان و ادبیات فارسی، دانشکده ادبیات، دانشگاه شهرکرد، شهرکرد، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسنده [English]
One of the subjects that have not been considered sufficiently in the studies related to the relationship between music and poetry is the scansion of poetry in vocal music.
Before this study, no independent research has been published about how systems of scansion work in Iranian song, and if a few minor and incoherent cases are found, they are limited to temporary and general references, also discussed associated to the relationship between music and poetry, and without specific reference to the concept of "scansion of poetry". However, it is not possible to mention a study that has independently analyzed the ways of scansion of poetry in Iranian song.
In present article, by examining the Davami vocal Radif, I will introduce the pattern of scansion of poetry in Davami Radif.
The samples of this article have been selected from the audio collection of Abdallah Davami vocal Radif and its notation by Dariush Talai (1398). This article is based on the theory of Omid Tabibzadeh (1382) about the meter of Persian folk poetry. Tabibzadeh considers Persian folk poetry to be of the accentual-syllabic type and he analyzes the meters of folk poetry by using the three concepts of line, half-line, and feet. In his theory, feet and half-line indicate the position of junctures or scansions in folk poetry. Based on Tabibzadeh idea, during declamation or reading of folk poetry, the scansions depend on the meter of this poem that this depends on the number of syllables and the position of the accents. Therefore, none of these scansions follows the semantic and linguistic boundaries of word and phrase, but all of them depend on the meter of this poem.
Davami, in the scansion of poetry, is more subject to its folk declamation style. Folk declamation of Persian classical poems imposes the meter of folk poetry on these poems. Therefore, the place of the scansion of poetry is determined according to this folk meter. This way of scansion, rather than depending on the meaning of the poem, is subject to the accentual-syllabic meter of the poem as a formal feature. For this reason, in Davami’s songs, we often encounter offbeat scansions that divide a word or phrase into two or more segments, regardless of the meaning of poetry. In conventional approaches to the relationship between music and poetry, this type of scansion is considered impairment. But our pattern in this article can simply justify all these offbeat scansions. In other words, these scansions are the result of Davami’s songs following of the folk meter of this poem. This pattern has also influenced the formation of the melody of his songs. As the many melodic parallels in Davami vocal Radif are formed among meter’s segments that are set in one or more feets. In this article, the types of these parallels have also been named and introduced to be followed up and completed in future research. It seems that this pattern can be considered as a new approach against the current meaning-oriented approaches, in the relationship between music and poetry.
کلیدواژهها [English]
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