نوع مقاله : مقاله پژوهشی
نویسنده
عضوِ هیات علمی دانشگاه گیلان، گیلان، ایران.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
This article is a study in spiritual relationship between Ghazal and Avaz in the Iranian classical music. If we try to discuss the use of poetic forms in music, Ghazal has the most priority to the rest. The both forms of Avaz and Ghazal have common interrelationships in form and content and closeness of these two may encourage us to suggest that formal structure from Avaz is inspired the Ghazal. The form of Ghazal consists of seven to twelve lines while the form of Avaz in performance is approximately the same. The lines of Ghazal coherence based on Radif and Qafieh, while the pieces of Dastgah coherence based on the Foruds (cadence). Ghazal became the most spiritual form in Persian poetry after the 13th AD. On the other hand, Dastgah is the most important form in Iranian music. Fundamentally, the content of Ghazal exists in the subject of lyric, mystical and moral. The content of Dastgah reflects the same material. In Avaz, singers are aiming to combine the spiritual contents of poems to the Dastgah and find the best way to consolidate them both together. To do so, they should achieve to a high understanding and knowledge in these topics. Upon the coherence theory of semantic, four main factors have been introduced as repetition, synonymy, antonymic and hyponymy.These factors are concordance the structure of Dastgah (repetition, variation, opposition and interrelation).This idea has been discussed that the lines of Ghazal express one theme while the other scholars believe that each line separately declare different theme. In spite of these two different ideas, we can examine both varieties in the structure of Dastgah and Ghazal. The reference for research hides in structure of Ghazal and the system of Dastgah.
کلیدواژهها [English]
فهرست منابع
دیسکوگرافی
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White, John D. (1976). The Analysis of Music, p.26-27.
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