AMIR PAZVARI'S SONGS AND MIDDLE IRANIAN SYLLABIC POETRY

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ESMAEILPOUR A.A.GH.

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Journal: JOURNAL OF HUMAN SCIENCES Year:2002 | Volume:- | Issue:32 Page(s): 99-112

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Title

AMIR PAZVARI'S SONGS AND MIDDLE IRANIAN SYLLABIC POETRY

Author(s)

ESMAEILPOUR A.A.GH. | Issue Writer Certificate

Keywords

AMIR PAZVARIQ4

TABARI LANGUAGEQ4

FOLKLORICQ4

MAZANDARANQ4

GOSANQ4

MUSICQ3

PAHLAVIQ4

PARTHIQ4

FAHLAVIYYATQ4

SORUDQ4

CHAMEQ4

SYLLABLEQ4

SYLLABLE METERSQ4

Abstract

The MAZANDARANi or the TABARI LANGUAGE is the remainder of the Middle Persian, i.e. , the PARTHIan and the Sassanian PAHLAVI. From etymological, grammatical, and vocabulary Points of view, the eastern dialects of MAZANDARAN reflect mainly the PARTHIan PAHLAVI while the dialects in west MAZANDARAN show mostly the characteristics of Sassanian PAHLAVI. But in time the two languages have intermingled, and that is why the songs of AMIR PAZVARI are developed forms of the PARTHIan/ Sassanian PAHLAVI songs and are considered as the later examples of old FAHLAVIYYAT. The songs of Amir and the syllabic poems in PARTHIan/Sassanian PAHLAVI have this Feature in common that they are oral and sung to MUSICal instruments.The Persian old poems are traditionally divided into four genres: (1) SORUD; (2) CHAME; (3) taranag;(4) proverbial chants. The Poems of AMIR PAZVARI are classified under taranag. His songs consist of four, six, or eight stanzas, and are mainly composed of 12 SYLLABLEs. Tarangs in PARTHIan and Sassanian period were also composed of 10 to 12 SYLLABLEs. The PAHLAVI words in AMIR PAZVARI poems show etymological ties between his song and the Middle Persian. The MUSICal instruments: lalava (ney), kamanche, and the other instruments which accompanied his songs are the same instruments that accompanied the Taranags. This proves the inseparability of lyrics and MUSIC in Sassanian times and the folk songs.The songs of AMIR PAZVARI may be regarded as the later developed genre of old FAHLAVIYYAT. The study and transcription of Amirs 272 songs produced the result that they are composed in 12-syllable meters. Some of the songs lack equal hemistiches. This shows that syllabically differences in different stanzas were removed and replaced by harmony through singing or MUSICal accompaniment. It should be noted that Amir’s songs are in tune with the MUSIC of Caspian coast regions, using kamanches,tars, tanburs, dafs, and lalavas (neys) as accompaniment to his songs shows that the syllabically poems of MAZANDARAN have been essentially mixed with MUSIC; and we can recognize a third genre of MAZANDARANi song and call it "ahange amiri" (Amiri Song)" or "Aamiri Khani" (Amiri Singing).

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APA: Copy

ESMAEILPOUR, A.A.GH.. (2002). AMIR PAZVARI'S SONGS AND MIDDLE IRANIAN SYLLABIC POETRY. JOURNAL OF HUMAN SCIENCES, -(32), 99-112. SID. https://sid.ir/paper/66721/en

Vancouver: Copy

ESMAEILPOUR A.A.GH.. AMIR PAZVARI'S SONGS AND MIDDLE IRANIAN SYLLABIC POETRY. JOURNAL OF HUMAN SCIENCES[Internet]. 2002;-(32):99-112. Available from: https://sid.ir/paper/66721/en

IEEE: Copy

A.A.GH. ESMAEILPOUR, “AMIR PAZVARI'S SONGS AND MIDDLE IRANIAN SYLLABIC POETRY,” JOURNAL OF HUMAN SCIENCES, vol. -, no. 32, pp. 99–112, 2002, [Online]. Available: https://sid.ir/paper/66721/en

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