چكيده فارسي :
تكيه عاملي صوتي براي برجسته‌سازي يكي از هجاهاي كلمه است و آهنگ كلام تغييرات صوتي گفتار است كه در واقع طرحي از تكيه‌ها است. تأثير چهار تأكيدِ زير و بمي، شدت، متريك (محل ضرب)، آگوگيك (كشش) براي اعمال تكيه در موسيقي مفروض بود كه طي اين پژوهش مشخص شد كه تكيه بيش از همه با تأكيد زير و بمي منتقل مي‌شود و ميزان زير بودن اهميتي ندارد. براي بازتاب تكيه در موسيقي كافيست نت مورد استفاده براي هجاي تكيه‌بر از هجاي بالقوه زيرتر باشد و زيرايي ساير هجاها در انتقال معنا تأثير ندارد. منابع پيوند شعر و موسيقي بازتابِ تكيه و آهنگِ كلام در موسيقي را با توجه به دو ضرورت انتقال معنا و حفظ كيفيت زبان ضروري دانسته‌اند؛ اما از آنجايي كه كيفيت زبان خود تابعي از لهجه و فضاي احساسي گوينده است و عنصري ثابت نيست ضروري دانستن آن بر اين اساس فقط در حوزۀ سليقه قابل قبول است اما انتقال معناي كلمات در موسيقي اهميت دارد ولي نمي‌تواند نگاه ثابتي به تمامِ كلمات داشت و بايد بين كلماتي كه تغيير تكيه در آن‌ها تفاوت معنايي ايجاد مي‌كند (تكيۀ مؤثر) كه بيشتر مربوط به نقش تمايزدهنده و صرفي است و ساير كلمات (تكيۀ غيرمؤثر) تفاوت قائل شد و با نگاهي طيفي به ضرورت رعايت تكيه كلمات در موسيقي نگريست.
چكيده لاتين :
Stress considered as a sound factor to highlight one of word’s syllables and also tune as a vocal sound variation is infact plan of stresses. Being supposed an effect of four accent along with pitch, intentsity , metric (place of beat )and agogic (duration) on stress acts in music during this research indicating that stress mostly transferred by pitch accent and pitch time signature is not critical. Appliing note for “relying on” sylluble must be lower from “potential” one, In addition being pitch of other syllables has no influence on meaning transference. Due to the two fundamental of meaning transference and language quality maintenace, poems and music joint resources of stress reflection and tunes in music requierd necessary; but as far as language quality in itself, is a function of speaker’s accent and emotional space not as a constant element, therefore knowing its an essential accordingly just is acceptable in the field of tastes , but meaning transference of words in music although has a significant role but unable to keep cosistant look to all words, and must be descrimination within words resulted in creating of meaning difference by stress variation ( effective stress) - more concerning with distinguishing and morphological role – and the other words ( ineffective stress) and should look need of observance of words stress in music from spectral point of view.
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variation is infact plan of stresses. Being supposed an effect of four accent along with pitch, intentsity , metric (place of beat )and agogic (duration) on stress acts in music during this research indicating that stress mostly transferred by pitch accent and pitch time signature is not critical. Appliing note for “relying on” sylluble must be lower from “potential” one, In addition being pitch of other syllables has no influence on meaning transference. Due to the two fundamental of meaning transference and language quality maintenace, poems and music joint resources of stress reflection and tunes in music requierd necessary; but as far as language quality in itself, is a function of speaker’s accent and emotional space not as a constant element, therefore knowing its an essential accordingly just is acceptable in the field of tastes , but meaning transference of words in music although has a significant role but unable to keep cosistant look to all words, and must be descrimination within words resulted in creating of meaning difference by stress variation ( effective stress) - more concerning with distinguishing and morphological role – and the other words ( ineffective stress) and should look need of observance of words stress in music from spectral point of view.
variation is infact plan of stresses. Being supposed an effect of four accent along with pitch, intentsity , metric (place of beat )and agogic (duration) on stress acts in music during this research indicating that stress mostly transferred by pitch accent and pitch time signature is not critical. Appliing note for “relying on” sylluble must be lower from “potential” one, In addition being pitch of other syllables has no influence on
