ساختار بحرِ طويل در موسيقي و شعر )بررسي تطبيقي سه گونه بحر طويل در حوز هي موسيقي نواحي و موسيقي عامه پسند ايران(

The Structure of Bahr-e-tavil in Poetry and Music

چكيده موسيقيِ آوازيِ ايران از منظر متر كي به دو گونه ي: موسيقي داراي متر آزاد 1 و موسيقي داراي متر مشخص2 طبقه بندي مي شود؛ در اين پژوهش به مطالعه ي كيي از گونه ه اي فراموش شد هي ترانه در موسيقي آوازيِ داراي متر مشخصِ ايران، موسوم به بحر طويل 3 پرداخته شده است. بخش نخست اين پژوه ش به روش كتابخان هاي به بررسي جايگاه بحر طويل در شعر فارسي پرداخته و در بخش دوم با نگاه پژوه ش كمّي، سه گونه بحر طويل از حوزه ي موسيقي نواحي شمال خراسان 4 و موسيقي مردمي ايران، آوانگاري 5 و از منظر مُدال و فُرمال و ريتم كي بررسي شده است. فراواني نغمه هاي بحر طويل ه اي مذكور به روش آمارگيري هدفمند و به واسطه ي تمام شماري نغمه هاي هر ترانه انجام شده است. مقايس هي پارامتر ها ي فراواني نغمه هاي كاربردي در هر نمونه به منظور اثبات گستره ي سه نغم هاي اين گونه، در جدول هاي مستقلي، مورد ارزيابي قرار گرفته است. هدف اصلي اين پژوهش اين است كه علاوه بر ريش هشناسي واژه در حوزه ي ادبيات و موسيقي، ويژگي ه اي منحصر به فرد اين گونه موسيقي را كه داراي متر مشخص ايران است و تنها گونه ي روايي است كه محتواي كلام و روايت داستان محور اصلي و گردش نغمه ها و ريتم موسيقي نقش ثانويه را در آن عهده دارند شناسايي كند و فرضيه ي كليدي پژوهش را كه «گستره ي سه نغمه اي اين گونه » است، تاييد و تا يكد نمايد.

Abstract This study deals with one of the overlooked categories of Tarâne in Iranian’s rhythmic vocal music known as Bahr-e-tavil. The first section studies the structure of Bahr-e-tavil in Farsi poetry using library sources and descriptive methods; the second section by using quantitative and analytical methods and transcription, studies comparatively three categories of Bahr-e-tavil from the areas: Dastgâh-i music, North Khorâsân Maqâmi and Folk music from the modal, formal, and rhythmic point of view. To prove the threechords of this genre, the frequency of sample melodies has been evaluated through objective statistics and comparing melody parameters in separate tables. At each three selected samples then a significant difference has been seen among the three main melodies and other melodies of each Tarâne. The frequency of the chord choices has been evaluated through objective statistical consideration and the comparison of chord parameters in separate tables so as to prove the three chords character of the category. Through each sample, a meaningful difference can be observed between the three main chords and other chords of each “TARANE”. Beside the literal terminology and the study of these three choices as case study, this research has made an effort to introduce this category as the only narrative genre in which the content of the language and the narration of the story bear the leading role and the musical agents play the supporting role, so as to present the key supposition of this essay which proves that the natural characteristic genre is three chords. The chord scale of “BAHR-E-TAVIL” is less than one musical tetrachord and is only limited to the three main chords. Unlike other forms, its hemistiches don’t possess equality of prosodic headquarters and in fact don’t have equal hemistiches (in BAHR-E-TAVIL, hemistiches are called clause). The hemistiches of BAHR-E-TAVIL possess both end and middle rhytme and the rhytmes are created by repeating infinit numbers of pillar “faalaton”. The topic of BAHR-E-TAVIL is often a narrative story with love content, advice, religious great appraisal, or up to date social subjects that sometimes is accompanied by irony and humorous. The number of phrases is often more than 30 phrases. In Iranian music Bahr-e Tavil belongs to the field of MAGHAMI music of Iran, because it is one modal and one tide. However, in Iranian traditional music and DASTGAH-I music there are examples of several modol of Bahr-e Tavil