Journal of Literary Criticism and Rhetoric

Document Type : scientific-research

Author

Department of Persian Language and Literature, Faculty of Literature and Humanities, University of Tehran, Tehran, Iran

10.22059/jlcr.2025.379087.2006

Abstract

The traditional vocal modes of Iran have long been performed alongside Persian poetry, as if they are twin souls. The common element that strengthens this ancient bond is the "rhythm." Based on this, there are two viewpoints: some believe that the rhythms of Persian poetry are born from the vocal modes, while others believe the opposite. This research, hypothesizing that there is a correspondence between the rhythm of poetry and the vocal modes in the radif of traditional music, measures and categorizes the rhythms of poems used by the vocal masters Abdullah Davami, Mohammad-Reza Shajarian, Nouraddin Razavi Sarvestani, Mahmoud Karimi, and Esmaeil Mehrtash in their teaching methods of the radif. The frequency of rhythms these masters chose for teaching the vocal modes was evaluated using the "Sharaahang" method. It is worth noting that Sharaahang is a modern method of Persian poetry rhythmology that names and categorizes the rhythms of Persian poetry based on the weight or temporal value of syllables in each line.



To verify the statistical accuracy of the first part of the research, the rhythms of poems in fifteen vocal modes performed by Mohammad-Reza Shajarian in nearly fifty private, stage, and studio performances were measured, confirming previous results. Ultimately, it was found that in the classification of traditional vocal modes into two categories—modal and rhythmic—the suitable rhythm for rhythmic modes is often fixed and in specific rhythms. In contrast, the suitable rhythm for modal modes is often in 15-syllable patterns (including seven long and eight short syllables), within a maximum range of three more or three fewer long syllables. Additionally, it was revealed that the most frequently used rhythms in the ghazal collections of Hafez Shirazi, Saadi Shirazi, and Jalaluddin Rumi are also the most frequently used rhythms in traditional Iranian vocal music. This not only strengthens the hypothesis of Hafez's mastery in the art of singing but also suggests that Iranian vocal music has reached the present generation with minimal changes since at least the 7th century.

Keywords

 
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