نوع مقاله : بلاغی
نویسندگان
گروه زبان و ادبیات فارسی، دانشکده زبان و ادبیات، دانشگاه کردستان، سنندج، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
In order to elucidate the importance of observing rhetorical principles in the effective and expressive vocal performance of Persian poetry, this study adopts a descriptive–analytical approach to examine how meanings are conveyed in the vocal renditions of three ghazals from Hafiz.The first ghazal, beginning with the verse “The recluse cleric last night went to the tavern…”, is analyzed in the performances of Shajarian, Alishapour, and Seraj.The second ghazal, starting with “May the day of lovers’ union be remembered…”, is studied through the performances of Mohammad-Reza Shajarian, Mohammad Motamedi, and Salar Aghili. The third ghazal, opening with “My heart slips away, O enlightened souls, for God’s sake…”, is examined across two renditions by Mohammad-Reza Shajarian, two by Shahram Nazeri, and one by Mohsen Keramati. The main analytical criteria include: The manner of vocal expression by the singer; The degree of emphasis on specific words; The extent to which the rhetorical techniques of the poet are observed; The quality and appropriateness of melodic ornaments and vocal tone in conveying the meanings of verses and words. Most vocal embellishments correspond well with the poet’s intended meanings; however, Shajarian’s renditions are found to be more successful compared to those of other singers. Some vocal ornaments used by other singers are unnecessary, while in certain cases, despite the rhetorical necessity of ornamentation, performers have neglected it. Motamedi’s repetitions, due to his attention to rhetorical precision, are more accurate than those of other vocalists. Shajarian, through precise emphasis, effectively conveys exclusivity and restriction in speech (qasr o hasr) and, with timely stress, communicates the meanings of the ghazal with greater depth. Aghili, by using accurate melodic ornaments, successfully conveys the meanings of expressions and words, making abstract concepts more tangible for the listener; however, he does not fully observe rhetorical necessities in his repetitions. His pronunciation of words and expressions also lacks precision, and he sometimes alters Hafiz’s text without rhetorical or musical justification.The use of textual variants in Shajarian’s performances aligns more closely with the overall context of the ghazal and demonstrates a better observance of rhetorical principles in vocal music compared to other renditions.
کلیدواژهها [English]
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