Review of musical instruments and terms in the Khaghani court

Dissertation for Master's Degree

Department: Persian Language and Literature

Abstract:

Music is a combination of sounds in a pleasing way. The history of Iranian music is tied to the emergence of the Aryan race, the pleasant and melodious words gradually took the form of poems and songs and led to the creation of songs and music. Music and literature as two inseparable chapters have been given special attention for a long time. Looking at the classical literature of Iran, we find that the great poets of the Persian language were also musicologists, as they used musical instruments and terms in their poems to create their poetic images. In the study of musical terms in Persian poetry, these terms can be divided into three parts: 1. Musical instruments 2. Curtains and songs 3. Special musical terms. Khaqani Shervani, a poet of the 6th century AH, is one of the poets who used musical instruments and terms in his poems. The music of words and eloquent songs in many of Khaqani's poems is so much that it is possible for the reader to enjoy without understanding the meaning. In this research, the extent of Khaqani's use of musical instruments and terms in his poems and the understanding of Khaqani's familiarity with music, terms and instruments and his skill in exploiting all kinds of possibilities to create imaginative images and creative beauty have been investigated. The result of the research shows that Khaqani has used more musical instruments such as harp, tambourine, harpsichord, pipe and organ, and terms such as curtain and horn, and he has used more musical instruments such as harp and harp, and Khaqani has given life to musical instruments by using metaphors and recognition.

Key words: music, Khaqani, terms and instruments, imagery.

Chapter One

General Research

Introduction:

Bargah Rafi Sokhon Parsi has seen precious and valuable residents who are now stars and bright stars They are the sky of Persian literature. If we don't say that Khaqani is the best, we can safely say that he is one of the best Persian orators.

The 6th century was a century of change in the center of political power in Iran, and the Seljuk rulers and kings based in the west of Iran provided rich literary circles with magnificent courts, where great orators such as Khaqani, Nizami, Mujir Bilqani, Athir al-Din Akshikti, etc. They were the result of these supports. The topic of the present research is devoted to the examination of Khaqani Shervani's poems. Khaqani is a great poet in terms of having a high thought, breadth of imagination, power of visualization, mastery of words, genius and a rich and Godly voice, restraint of nature, high effort, extraordinary skill in creating strange combinations and strange metaphors and allusions, and a theme-making and meaning-making mind.

What distinguishes Khaqani's words from other Persian poets and rhetoricians is the complexity of his words and meanings. Using his wide knowledge in astronomy, music, medicine, gemology, and most importantly, the Persian language, Khaghani started to create a work that shines like a jewel on the Persian language. To compile the musical instruments in the Diwan of Khaqani poems.

On this basis, all the poems of the Diwan, including odes, sonnets, recitations, pieces and quatrains, all the terms related to music and the names of instruments and instruments were extracted and their usage in Khaqani poetry was examined. The theoretical foundations, the third chapter, the description of Khaqani's status, works, religion, and stylistic characteristics, the fourth chapter, about the musical instruments and terms in the Divan of Khaqani's poems, and the understanding of the extent of the creation of images of imagination and beauty, and the fifth chapter constitutes the conclusion and proposal..

In this research, the letters (Q - GH - M) next to the poems are taken from the first letters of the piece - ghazal and masnavi.

The basis for examining the version of Diwan Khaqani Sharvani edited by Ziauddin Sajjadi, 1391 edition, Tehran, is Zovar Publications.

Statement of the research problem

((Music is the science of composing, the science of periods, the science of tones. The science that is the state of the tones. The science that allows us to know the state of the tones and its negatives. In other words, music is two arts. The first art is to determine the softness of the tones and it is called the art of melody, and the second art is to determine the weight of the music and it is called the art of rhythm. Music is the combination of sounds in a pleasing way)).(Dictionary) Dehkhoda).

Music is a combination of words and sounds. The difference between poetry and prose is that verbal poetry is rhythmic, rhyming and imaginative, therefore it also has music.

Many poets were musicians first and even played instruments, such as Rudaki Samarkandi, Manouchehri Damghani, Khaghani Shervani and Hafez Shirazi.

The use of music by poets is not only in the weight of the poem but also when reading. They also played music, such as the famous ode (Boy Joy Molyan) by Rodaki Samarkandi, which was very influential. Another effect of surrounding poets with music is the use of the terms of this art in the poetic themes and speech of these poets. Names and terms such as harp, harp, organ, pipe, bowl, organ, free, ava, song, song, hymn, rast, barbad, jalajal, tabireh, etc., which have a special place in the poems of these poets and have been used a lot in the form of allusions, metaphors, and similes. It is 6th Hijri. Some have written his name as "Badil" and some as "Ibrahim". Imam Rafei Qazvini (557-623 A.H.), one of his contemporaries, has mentioned in his book "Al-Afzal (= Abbreviated Afzal Al-Din) Badil Al-Haqayqi known as Bal-Khaqani". His father's name was Ali and his grandfather's name was Othman, according to his uncle's name, "Kafi al-Din Omar bin Othman" (Khaqani Sharvani, 1391: 217). found His father was a carpenter and his mother, who was originally a Nestorian concubine, seems to have worked as a cook or a weaver (Khaqani, 1391: 6-8). His father entrusted him to his brother Kafi al-Din when he was a child, apparently due to poverty, and he took charge of his nephew. Kafi al-Din was a physician, a philosopher, a powerful astronomer and an outstanding writer. He should be considered the first Khaqani teacher. 

Some have also considered Abul Alaa Ganjavi, citing his verses, as Khaqani's master and father-in-law (see: Sajjadi, "Muqadmah" pp. 13-14). However, the competition in the court and literary environment of Sharvan strained their relationship and led them to ridicule each other. 

Khaqani's poetry died in the borders of Sharvan in his young years (Khaqani, 1391: 181) and gradually he became known as a eloquent poet in Khorasan and Iraq, and in addition to being a poet, he was employed as a secretary in the court of Sharvan, and he was honored that the king placed him above his minister (Ibid., 1391: 184). Among the poets, Khaqani had a special devotion to Sana'i of Ghaznavi and called himself his successor and followed the style of Sana'i in composing mystical poems:

Two important events His two journeys to the House of God, which had a great impact on the development of Khaqani's spiritual personality and poetry, took place in 551-552 AH and the second in 569 AH.