Abstract:
The influence of music on the human soul has led poets and writers to use this important element to express different meanings and terms. One of the poets who has mastered the conceptual, emotional, and aesthetic aspects of his poetry through the use of musical terms is Qaani a poet of the Literature Return Era; He has had ample information about the ancient music and has used the words and idioms of this music even the least used terms in his poetry. He has also been influenced by the music culture of his time and named new instruments such as tar and santour. All of these have paved the way for creating the musical equivocation fitness. This paper is an attempt to clarify Qachr('39')anichr('39')s attention toward musical equivocation and the musical terms and idioms used by him .
Machine summary:
While Qaani possessed much information about ancient musical culture, he mentioned the names of instruments, their structures, and their playing methods, and used rare and novel musical words and terms in his poetry (Khara, Basteh, Zabol, Neyriz, Nishapur, Sarang, and Shadgar, Mah be Kuhun); he was also influenced by the music of his own time (the Qajar era) and mentions new instruments such as the tar and santur; in a verse, he mentions the tar and tanbak players of his time: tar players "Zaghi," "Reyhan," and the Jewish "Melima," and rhythm players "Akbari," "Ahmadi," and "Babaei" (Qaani, Qasa'id, 821) 12 and in compositions by a singer named Ismail, he mentions: O friends, tonight "Ismail" makes a commotion, he disgraces the harp with his stirring song (Ibid, 842).
My fire is love, my heart is oud, and my body is a censer (Hafiz, 4: 257) It is as if from the melody of the oud and the chanting of the river, they have mixed the scent of flowers with the breath of the morning bird (Qaani, Qasa'id, 193) In the verse above, oud is used in the sense of "fragrant wood"; in its musical sense, it creates an ambiguity of proportion with the chanting of the river (the instrument's melody making) and with the flower, meaning a "fret in music," and the morning bird (a metaphor for the musician), creating a second type of ambiguity of proportion; in another verse he says: Saki, bring a cup and give the shahda a drink; servant, burn some oud and musician, play a melody (Ibid, 619) Tar: A plucked string instrument with a long neck that today in Iranian musical culture, is considered the most important playing instrument.
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