بررسی نقش تکیه و ارتفاع صوت در تلفیق شعر و موسیقی
آرشیو
چکیده
به کارگیری اصول و قواعد مناسب در خلق موسیقی آوازی می تواند تا حد امکان به تلفیق صحیح تر شعر و موسیقی کمک کند، ازجمله رعایت قواعد تکیه و ارتفاع صوتِ کلمات در موسیقی است. خانلری تکیه را به دو نوع تقسیم کرده، یکی تکیه شدت که از تلفظ چند هجای متوالی، در ادای یکی از آن ها نفس با شدت بیشتری خارج شود و دیگری تکیه ارتفاع که هجای تکیه دار در کلمات فارسی با بالارفتن صدا و بسامد تأمین می شود و اعتقاد دارد در فارسی امروز تکیه از این نوع است. علاوه بر این دهلوی معتقد است تأکید نوعی تکیه است که به جای هجا، بر روی کلمه قرار می گیرد تا مفهوم موردنظر بهتر به مخاطب منتقل شود. هدف این تحقیق به کارگیری صحیح تکیه و ارتفاع صوتِ هجاهای شعر در موسیقی است. این تحقیق از نظر نوع توصیفی تحلیلی است، یعنی ابتدا نظرات مطرح شده توصیف و سپس مورد تحلیل قرارگرفته اند. تکیه شدت و ارتفاع صوت همواره در اشعار وجود دارد که ممکن است باهم و یا جدا از هم بر روی هجا قرار گیرند، برخلاف نظر خانلری ارتفاع صوت تکیه محسوب نمی شود زیرا به طور پیوسته و منظم در شعر تکرار نشده و عامل اصلی در تکیه همان شدت است که جهت حفظ وزن شعر بهتر است هجاهای تکیه دار در ضرب اول هر میزان قرار گیرند. رعایت ارتفاع صوت هجاهای کلماتی هم که متناسب با تغییر نقش آن کلمه در جمله تغییر می کند در ملودی ضروری است زیرا باعث می شود معنا و مفهوم جمله به درستی به مخاطب منتقل شود. همچنین برخلاف نظر دهلوی تکیه نمی تواند بر روی کلمه قرار بگیرد زیرا کلمه از چند هجا تشکیل شده و تکیه فقط می تواند بر روی یکی از هجاها قرار گیرد تأکید موردنظر دهلوی براثر تغییر ارتفاع صوت هجای آخر کلمه ایجاد می شود.Investigating the Role of Stress and Pitch in Combining Poem and Music
Introduction: Applying the right principles and rules in creating vocal music can help to combine poetry and music as much as possible, including observing the rules of stress and pitch of words in music. Khanlari categorizes stress into two types. The first type is Stress Accent, where when pronouncing several successive syllables, one of them is pronounced with more force as the breath exits. The second type is Pitch Accent, where the stressed syllable is emphasized in Persian words by increasing the volume and frequency, the latter is considered as the type of stress which is used in Persian today. In addition, Dehlavi believes that emphasis is a type of stress that is placed on the word instead of the syllable so that the desired concept is better conveyed to the audienceResearch Problem: Creating vocal music has accompanied two general looks along the history of music. One has taken music as subordinate to poetry and another has considered poetry as subordinate to music. In serving music for a poem, using a series of suitable principles and rules can help to combine poetry and music, or at least combine them as much as possible by observing rules of stress and pitch of sounds of poetic words in music.The meter of music and the melodic curve can have a determinative role, Correct use of stress and pitch in music can effectively convey the meaning and concept of the poem to the listener. As Khanlari noted: "When we pronounce a word, all syllables that are in it, are not pronounced to the same degree of clarity and salience, but one syllable is more salient and that is called stress". He categorizes stress into two types. The first type is Stress Accent, where when pronouncing several successive syllables, one of them is pronounced with more force as the breath exits. The second type is Pitch Accent, where the stressed syllable is emphasized in Persian words by increasing the volume and frequency, causing the sound to become deeper or bass when pronouncing that syllable. In addition to this, Dehlavi utters regarding stress: "Stress is a type of accent placed on a word instead of a syllable, which helps convey the concept better to the listener.". Most linguists believe that applying stress on one syllable is due to the occurring severity of a syllable, but Khanlari knows the nature of Persian stress as due to soprano and bass changes of sound.Objectives: The question being discussed is whether poetry or words should take precedence in music. Furthermore, how should the pitch and syllables of words in a poem be utilized to maintain the synonymous and co-conceptual nature of the verse while also allowing for unlimited melodic creating capabilities without restricting the freedom of the melodic curve.Method: This research is considered to be practical in terms of its purpose, which was carried out to properly use the stress and pitch of poetry and speech in vocal music works, especially the production of Iranian metrical music works. The data collection method is descriptive-analytical. This means that firstly, the research of two experts in the field of literature and music, who have provided an opinion on pitch and stress, are described, and then, in addition to library research, examining the metrical corners of the vocal music of Iran and the written works of late Qajar composers such as Ali Akbar Sheida, Aref Qazvini, and Amir Jahed have been analyzed.Results: The meter of a poem and the rhythm of its words are determined by the stress on certain syllables, although in most poems, there is a pitch accent. Unlike Khanlari's opinion, this type of accent has not been used in all poems in an orderly and continuous manner. Therefore, pitch cannot be taken into account as a stress, and the main factor in stress is the same severity as the pitch in an accent. This is necessary, as much as possible, in music, whether with the meter of a poem or another meter. Stressed syllables are placed on the first beat of the bar.Also, contrary to Dehlavi's opinion, the stress cannot be placed on the word because the word consists of several syllables and the stress can only be placed on one of the syllables. Sometimes, the sound pitch of a syllable of a word is changed proportionally to the changing role of that word in a sentence, changing the meaning and concept of verse of a poem. In this case, this change must also be observed in music so that the meaning and concept of a poem are transferred to the addressee truthfully. The stress described by Dehlavi does not emphasize a word itself, but rather on the change in sound pitch of the last syllable of the word. This means that the descending sound pitch of the last syllable of the word is transformed into an ascending sound pitch.Conclusion: In a definition provided by Khanlari, a pitch accent is defined as the same as stress accent, but with an ascending pitch. This means that pitch accent has severity, similar to an ascending pitch. Given this, why do we call it pitch accent when it has severity? In combining poetry and music, stress accent can play a determinative role in the meter of music, sound pitch, and music interval. The meter of music can be determined based on the main meter of the poem, i.e., the same meter obtained from the stress accent of some syllables or by a change in the quantity of some syllables; other suitable meters can be considered as well. In any case, syllables with stress accents should be placed in the first beat of the barring of music.In addition to this, there is a sound pitch between the syllables of words, whether descending or ascending. It is always necessary to observe the sound pitch of syllables of words, and it should be proportional to the changing role of that word in a sentence. This is essential in melody, as it transfers the meaning and concept of a sentence to the listener. Additionally, Dehlavi's definition which states that stress is a type of accent placed on a word instead of a syllable cannot be used in this regard. The given stress of Dehlavi is taken into account as the changing role of a word, meaning that the changing sound pitch of the last syllable of a word goes from descending to ascending.
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