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Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini

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Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini Ali Pedram Mirzaei Assistant Professor, Department of Persian Literature, Payame Noor University, P.O.Box 19395-4697, Iran Mostafa Gorji Professor, Department of Persian Literature, Payame Noor University, P.O.Box 19395-4697, Iran Mostafa Jouzi PhD student, Department of Persian Literature, Payame Noor University, P.O.Box 19395-4697, Iran Abstract: Linkage and relationship between poetry and music has old age and long record of history. The most beautiful and excellent glorious sign of this linkage can be sought in tasnif. This linkage is rooted as some researchers believe that poetry in Iran was nothing but tasnif before Islam and life of poetry was accompanied by music. The Constitution period is the era of real manifestation and evolution and elevation of tasnif. The Constitution period is the era of real manifestation and evolution and elevation of tasnif. Among them, Aref Ghazvini has had special role in ingenuity and prosperity of this effective and public literary type. By keeping priority of sheida, Aref plays an important role in tasnif as a literary genre in the Constitution era. In this research, the external form of the aref's tasnifs is analyzed while tasnif is introduced as a literary genre. In this regard, metre and format have been selected as elements of the external form index of tasnif because most of the tasnif's deconstruction occurs in the external form and particularly metre and format and interaction and linkage of these two categories. Final outcome of the research shows that melody and intonation play determining role in the external structure and system of tasnif. metre and format are completely affected and dominated by it so that it changes structure and form of tasnif from the traditional form of poetry and formats and makes it compatible with musical rhythm and system of tasnif. Application of some prosodic metre in a tasnif , change in metre of discourse aligned with change in rhythm and harmony , application of rare and unprecedented metre with unique prosodic characteristics and application of innovative poetical format all are result of this attitude and dominance of rhythm and melody over discourse. Key words: Tasnif, Aref Ghazvini, metre , rhythm, melody 1- Introduction Poetry and music have old age and inseparable linkage with each other such that most researchers believe that poetry could be presented with music in Iran before Islam. Poetry and music were like two inseparable parts and everyone who could know poetry, were forced to study music and everyone who had music taste composed poem. This is confirmed by the known word of the writer of History of 117 Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini Mirzaei et al/ Argos Special Issue 2016-2/pp.117-142 Sistan: when the Persians existed, their sayings were quoted in Khosravani way(History of Sistan, 2002:215). meaning composing poem in Arabic language »ا٘طذاِطعش« Jorji Zeidan" is one of the" who elaborates relation between poetry and music and believes that music is recognizable for human and combined with discourse and speaking(Fazel, 2001:31). One of the most excellent manifestations of this linkage and relationship is tasnif. During the history, it has ups and downs and has changed during any period based on need and necessity of the society. The Constitution period is the starting point of dynamicity and change of tasnif and tasnif composition and the pioneer of this change is nobody but Aref Ghazvini , national undisputed poet and tasnif composer of the Constitution period. In this research, the external structure and form of tasnifs of Aref Ghazvini are studied and analyzed as a literary genre effective in the Constitution period. In this regard , metre and poetical format and interaction and linkage of these two categories as the main indices for formation of the external form of tasnif have been regarded as basis of the research. Regarding the history of research, it should be acknowledged that no accurate research has been conducted on form and structure of Aref's tasnifs in special form and most researches are based on tasnif composition and its history and general specifications of Aref Ghazvini's tasnifs. Regarding tasnif composition and tasnifs of Aref Ghazvini, one can refer to the following works and researches: 1. History of tasnif composition written by Sohrab Fazel 2. National songs of Iran written by Ahmad Panahi Semnani 3. Paper entitled "stability in tasnif " written by Ali Mohammadi 4. Paper entitled "Aref and metre " written by Mehdi Firoozian In this research, books and papers relating to subject and tasnifs of Aref were studied with library sources and after extraction of the related data, the data were analyzed with content analysis method the obtained results were presented (1). 2- What is tasnif? Dehkhoda has defined the word"tasnif": segmenting and separating some parts from some other parts and in music term, combination and composition of music songs(Dehkhoda, below the word "tasnif"). Selection of the word"tasnif" and its point of siminaliry may be due to the fact that becauee the word"taalif" and taalif 118 Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini Mirzaei et al/ Argos Special Issue 2016-2/pp.117-142 relation has been common in music technique , the term "tasnif" has been established through analogy of the writer and translation of this word into composition and musical poem is very suitable (Mashhoon, 1994:312). Literally, tasnif means orchestration of music and extension of composition (Navab Safa, 2002:23). But what is inferred from the word"tasnif" is different from its old meaning and it is better to say that tasnif has two general and specific meanings. In general meaning, continuity and relation of poetry and music can be regarded as tasnif and the Persian poetry has format of tasnif and has turned into other formats due to expansion of society and change in function of poetry and separation of poetry and music (Monibolrahman, 2007: 119). Based on this attitude, the late Bahar says about tasnif: for the reasons which we have, there is no significant ٔضاحفات تحش ٞزض difference between poetry and tasnif and ay poetry has been applied in ٚ and instead of tasnif(Bahar, 2003:33). Bahar defines tasnif as a type of syllabic سجزض poetry which was common before Islam and writes about its social form and belonging: the dominant guess is that composition of chakameh was like that of ode and chakamek was like ghazal and song is similar to tasnif. Saying and singing it are popular and listening to it is specific to the second and third classes (the same: 34). By relying on the above facts, the old poetry of Iran and its evident example, Barbad Khosravanis , which is indicative of close relation between poetry and music is tasnif in its general meaning. In its specific meaning, it is a relatively new phenomenon which is manifested in serious form affected by the Constitution period and enters the life scene as a changing literary genre. Of course, old age and history of tasnif date back century 17 later on in its modern meaning. It is evident that this term has been common since century 10 i.e. Safavid period later on. Before that date in centuries 8 and 9, the word"tasnif"was interpreted as harmonic talk and the like to mean composition of song and music in writings of Abdolghader Maraghi and previously in works of Safiaddin Armavi, the great musician of century 7(Mashhoon, 1994:309). Some other researchers believe that Abdolghader Maraghi (died, 838A.H.) first applied the term"tasnif" in his works (refer to Hassan Zadeh Mirali and Amin Poor, 2014:97). Maraghi , the distinguished musician of century 9 was highly proficient in music especially composition of tasnifs and explained in detail all types of tasnifs in his ,by mentioning poetical examples and its periods (Maraghi " ٔماصزذاِحاٖ " precious work 2536:105). 119 Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini Mirzaei et al/ Argos Special Issue 2016-2/pp.117-142 Dolatshah Samarghandi in his biography mention biography of Roodaki and refers to the word"tasnif" beside other things : ….perhaps, because the master has been fully skilled in music instruments , he may have composed tasnif and composed this poetry based on aghani music and musical instrument (Samarghandi, (2005):38). Arian Poor believes that emergence of the term "tasnif" starts from centuries 8 and لزand it becomes popular since century 10. He believes that the term replaces ٚ َٛ 9 in the first era after Islam which is referred in term of the poets and musicians غزضَ to as tonal poetry with prosodic and rhythmic metre (Arian Poor , 1993, Vol. 2: 151). Therefore, the term"tasnif" becomes popular since century 7 later on and in century 10 and Safavvid period and particularly Qajar period , it becomes comprehensive and public . In other nations and languages, there are musical pieces like out tasnif which are recalled with different titles. As Ballad in the European music and Lied in German language has a similar form to that of tasnif. 2-1- Tasnif composition method Tasnif is divided into four classes in terms of discourse, melody and combination of these two and composition method: 1. In the first method, composer puts a music on a pre-composed piece of poem, for example a poem of Hafiz, Saadi etc. and its result will be performed by the singer. 2. In this method, the composer gives song and music to the poet and then the poet composes a poem based on songs and tone of music. At present, this method is more common in tasnif composition.
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