In Iranian classical music, Yousef Foroutan is more known as a Setar player than a RADIF master who had his unique and individual techniques and style in playing and great huge knowledge about the old Metric pieces. Consequently, his RADIF as an independent and single source of Iranian classical music is less referred to and performed by other musicians. In this paper, Gosheha of Forutan’ s RADIF are divided in four sections: 1-Rhythmic, 2-Melodic, 3-Metric, and 4 Modal. Then Forutan’ s RADIF are compared with Mirza Abdollah and Mirza Hosseingholi’ s RADIFs. The comparison indicates that there are some differences between the Ghoeha of Forutan’ s RADIF and that of the two later. Modal, Melodic and Rhythmic Gosheha of Forutan’ s RADIF are not radically different with those of Mirza Abdollah and Mirza Hosseingholi’ s RADIFs, but Metric Gosheha are significantly different and considered as characteristic elements of his RADIF. Forutan’ s RADIF may be considered as a summary of Mirza Abdollah and Mirza Hosseingholi’ s RADIFha to which Foroutan’ s certain melodic patterns are added, emphasizing on representation of Modal and Melodic Gosheh. A large number of Metric pieces have been made by Foroutan himself. The number of Metric pieces may be considered as the most important characteristic of Foroutan RADIF. Metric RADIF shows changes in composing musical RADIF. These changes provide a source of training and preserving the ancient songs to write ready-to-perform set of melodies in Foroutan period. Considering the above differences between three mentioned RADIFha, we have concluded that Foroutan’ s RADIF can be a source of performance rather than a source of training. When Foroutan’ s performance of RADIF was recorded, other composers followed his method. As Mirza Abdollah and Mirza Hosseingholi gave few performances and had limited facilities for recording an album, they merely emphasized performing musical pieces in RADIF format to preserve the original melodies and pieces facing the danger of being forgotten. They used RADIF as a training guide to perform the Gosheha in their original from, not to omit any of the pieces of the music and in general, to preserve the complete set of Iranian Musical RADIF. But Foroutan had the chance to consider composing his RADIF as a source of performance, create more metric pieces and use the basic pieces from his masters because in the period he lived, the facilities for recording have been improved and there were good prospects for performing live music. For little chance of live performance in Mirza Abdollah and Mirza Hosseingholi period, musicians had no motivation for live performances. Musical sources of the past and Foroutan’ s use of such sources in order to compose modern music under the conditions of his time may now be the source of inspiration for contemporary musicians to write music.

In Divans and versified works we face poems, particularly lyrics and odes, which RADIF (or repeated words) in their opening verse is spread but from the second verse on, it becomes shorter so far as it ends in one word and vice versa. In other words, RADIF is short in the opening verse but in subsequent verses it gets longer. There are other kinds of RADIF which are clear in the opening verses but undergo changes in subsequent verses. Sometimes RADIF in lyrics is only used in even verses and we can find verses in which RADIF has been placed in Sadr (the beginning of the first line of a verse) instead of taking the place of Arooz (the end of the first line of a verse). In some cases, RADIF and Rhyme are blended in a way that the last letter of rhyming word replaces the first letter of RADIF.This does not seem to be coincidental; rather it can be said that this kind of application and escaping from the common traditions and rules used in poems is a kind of innovation and variety which has not been mentioned in the books dealing with rhyming. Enough evidence is presented to support the claim of the researcher.

The most exquisite and the greatest manifestations of our culture in our turbulent historical periods are the magnificent works in Persian literature reflecting all historical, cultural, social, psychological, aesthetic, and other aspects. To appreciate the value of these invaluable gems, we must scrutinize over the delicate and witty points and distinguish between the good as well as bad aspects because our contemporary literature is the logical continuation of the past literature. In this regard, knowledge of different genres, history of literature, prosody, stylistics, mysticism, history of language, grammar, rhyme and rhythm, RADIF, etc each provides a way for better understanding of literary works.Rhythmical language has a greatly significant role in assigning Prominence to the images present in the mind of the poets, similar to mysticism being an interpretation of attraction. These all, from all litrary perspectives, particularly RADIF need to be repeated. It is noteworthy that RADIF has been welcomed from ancient times. In the present article, contrary to the ideas proposed with most of the scholors, attempts to present the aduantages of using poetic RADIFs in the forms of words, nouns, adjectives, advebs, vebs and sentence wise in the works of famous poets of Iraqi’s style.

Having reviewed methods of creating varieties in rhythmic patterns making zarbies in RADIF of Yousef Foroutan, I identify and compare these methods with the process of creation of rhythmic variety in nonmetric pieces of Foroutan in his RADIF. For comparison purpose pieces with similar rhythmic structure in said zarbi pieces are listed and each part is compared with the immediate part after it. Where parts are different their variety and changes are evaluated. As Foroutan was one of the most important performers of old metric pieces and melodies composed by him are counted as significant pieces, the comparison allows us to identify his understanding of rhythm and application of RADIF in his own style and accounts in composing zarbi pieces. In this paper I am not analyzing melodic development and expansion but trying to study and identify how to use rhythmic factors in making an Iranian Classical Music genre with a phenomenological approach. zarbi pieces in this paper mean pieces of certain mode composed with relatively average tempo. As seen in Foroutan RADIF some zarbi pieces may be referred to as Pish Daramad for being played in the beginning of a Dastgah or Avaz, however they are studied as zarbi pieces as well. Other metric pieces known as Char Mezrtab, Reng and Tasnif in Foroutan RADIF are not studied as zarbi pieces in this paper. In this way 11 zarbi pieces from Foroutan RADIF with the aforesaid attributes are studied in terms of rhythmic variety. Changes like repetition with different performance techniques, dynamic changes and/or performance using different ornaments may be considered as types of variation in these pieces which are excluded from this paper for the fact that we only study rhythmic variations and changes here. The comparison indicates in general that different combination of rhythmic patterns in consecutive melodic parts of metric pieces in Foroutan RADIF created changes in the pieces referred to in this paper as 1-Increase in number 2-Decrease in number 3-Increase/Decrease in number. Meanwhile, each rhythmic pattern may have been changed and diversified using below methods: 1-Division of duration 2-Integration of Duration 3-tone/Rest. There are some other variation methods in Western Classical Music such as diminution or augmentation performed using changes in the melodies duration which are not common in Iranian Classical Music. These methods are not seen in metric pieces of Foroutan RADIF studied in this paper. The method is not seen in other metric pieces having ordinary attributes of Iranian Classical Music. Rhythmic variations in melodic ideas of zarbi pieces in Foroutan RADIF follow the same process used by him in creation of variety in nonmetric pieces. This may indicates his conception and knowledgeable or unconscious use of rhythmic pieces’ attributes of nonmetric parts in composing zarbi pieces. Rhythmic attributes of Yousef Forouan zarbi pieces may have been effective on performance of nonmetric part in his RADIF. The method studied and considered in this study may be used in composing new metric and nonmetric pieces.

From ancient time of Persian Poetry, the kings of speech have fvourably used RADIF* in their worthy wording of Dari language. Considering it as a sign of perfection in poetry, they take pride in their skilled use of RADIF in their works.Researches on the background of RADIF show that this important eloquent element was specifically created by Iranians and its use has had a growing trend from the beginning of 6th century (AH).RADIFs in Naser khosrow’s Divan were simple and plain. Linguistically speaking, they included nouns, pronouns, prepositions and clauses. Contrary to Rowshanai-Naame and Saadat-Naame, his Divan was free from adverbial, adjectival and sentence RADIFs which cast doubts on the ascription of these two books to him.In his works, he sometimes used RADIFs which did not have the same meanings and in some cases, he did not observe the use of rhyme before synonymous RADIFs.Research proved that Naser khosrow was the first who used the personal names as RADIF in his odes. In terms of eloquence and rhythm, his RADIFs had a very special feature that was mentioned in the article.

In his collection of sonnets, Molana, the well – known Persian poet, has used innovation and deviation of norms more than other poets, especially with regard to quatrains. This tendency is quite tangible in all aspects of his poetry, particularly in RADIF.He was well aware of the rhythm of RADIF and its significance in Persian poetry. Thus he used it the most and he can be considered as a distinguished poet with regard to variety and deviation of norms in RADIF construction. Ecstasy, rapture, and singing are all observable elements in his sonnets and they are also the main causes of his innovations in RADIF. An attempt has been made in this research to deal with such issues as the unusual prolonged RADIF, not observing the rhyme before it, the conversion of rhyme to RADIF, the combination of RADIF and rhyme, and lack of synonymy between various RADIFs.

RADIF, that exclusively has been used in Persian poetry and invented by Iranian poets has had an attractive effect on poems and the poets regarded it as an indication of their power in writing poems.The trace of RADIF has been seen since the second century of Hijra and even since the earlier history of Iran.This eloquent element is remarkably important, and statistically is the most frequent artistic element in poetry.Out of Sanaei 407 odes, 50.5 percent have RADIF. Sanaei after Adib Saber has used the most RADIFs in his odes and mostly his RADIFs constitute several prosodic foots. Therefore, they have multiplied the musical characteristics of his verses. Furthermore, most of his RADIFs have more than one word and he sometimes uses a pseudo-sentence and even a sentence. Sanaei more than any other Persian poet likes diversity, fancy and uses different ways in RADIF. In this article, the researcher tries to give some examples indicating the wide variety of the ways that Sanaei has offered RADIF.

The verbal music in poem, named aesthetics, is the first and most important element of the beauty of poem and can fascinates addressee. Rhyme, RADIF in verbal music plays a very important role and serves as a pillar and reference in the music of every line. In this text, we explore types of rhyme and RADIF and their musical roles in Iraqi's sonnets. Iraqi is the great mystic and poet who lived in 7th century. We evaluated rhyme and RADIF, used in his poem book from different angels, in a descriptive-analytical way. The following results were achieved: Sonnets, have used common and frequently used rhythms. His expression is fluent and understandable. 63% of the rhyme words are ended with high syllable, in form of obligated mordaf to main redf and absolute mordaf to main redf. This issue provides the context for music of word and beautifies the thoughts. 24% of the rhymes ended with simple syllable have been in obligated and absolute form. In these rhymes, for having the necessary condition for fluency of the music, vowels or a suitable RADIF with a high syllable have been used. 64% of Iraqi's sonnets have RADIFs, so the last consonant of the rhyme with poor pronunciation in these sonnets is well-pronounced and the necessary music of the poem is achieved. The phonetic relationship between the chains and sub-chains in the chain of words, between rhyme and RADIF, and the other words in each line has a good harmony and nice beautiful music. But in Iraqi's sonnets, contents are similar and imagination is low, and repetitions of rhyme, RADIF and the first line (Matla') are in excess of need.

According to researchers, RADIFs can be one of the main components of the ancient Persian poetry made by Iranian talent and muse. RADIF as one of the pillars of the side music, has played a major role in classical Persian poetry, and Persian poets have shown great attention to composing RADIF-consisting poems, since ancient times. In the early Persian poetry, RADIF is used slightly but the more the Persian poetry completed, the more application of RADIF have seen, and gradually, poets intended to use simple types instead of those complicated.One of the poets who have shown special attention to using RADIF and its application forms are of high-frequency in his poems, is khaghani. In this essay, we have tried to analyze Khaghani's poem statically. For this purpose, we have provided accurate statistics of the RADIF-consisting poems and those are not RADIF-consisting. We studied various types of RADIFs in all khaghani's Divan as well. Then it is proved that the frequency of his RADIF-consisting poems is higher than the other with no RADIF.Statistical analysis shows that 815 of 1212 khaghani's poems consist RADIFs.This number equals 20/68% of his all poems. Study of RADIF in different form showes that poem with RADIF appreciably are more predominant than poems without RADIF.81.77% of Ghazels, 39.64% of odes, 88.54% of quatrains/rubais, 22.64% of fragments and 66.79% of his small odes have RADIF. The types of RADIF in Khaghani' s poem includes: verb, noun (noun phrase), letters, adverbs, pronouns, adjectives and phrases, or sentences (such as overnight). But the verb type (70%) is mostly used in his poetry. In this article we discussed the functions of RADIF in khaghani' poems and concluded that the main functions of RADIF in his poetry are as follows: 1- Creating unity between poet and audience When the reader can guess the word (or phrase) in a particular situation, he will find himself as a contributor in composing poet.2- coordination of RADIF with theme and motif Coordination of RADIF and poetry is of high importance in view of the great poets such as khaghani. Of course, creating such a figure seems to be elaborate especially in long odes. Keeping this coordination needs a strong sense and high capacity that khaghani have.3- Creating new figures of thoughts and speeches Repeatition of RADIFs in Khaghani's poem created new themes and combinations.Forozanfar says: "khaghani is among the great poets of Iran in inventing of combinations and pleasant ironies" (Forozanfar, 1384: 617) 4- Foregrounding an image or theme One of the aims of RADIF is foregrounding; the poet repeat a word, theme or image in order to highlight and make it important. Special position of RADIF in the end of poem and the pause after or before it increases emphasis and focus on it.5- Inducing the interior sense of poem Poet sometimes repeats a word or phrase in the poem sequence and aims at inducing an interior sense to the audience. Sadness, happiness, hope, hopelessness, and any other senses are conveyable through these repetitions.6- Unifying thought and imagination Poet with the help of RADIF leads the poem to a unique thought, for example, khaghani in one poem selected word "safahan" as RADIF to highlight it, and establish poetic concepts about this city until the end as well.7- Strengthening the music of poetry Musical function of RADIF is featured in khaghani's poem and he used these RADIFs beautifully with the aim of making his poem melodious and musically rich.8- Creating visual pleasure Sometimes the writing form of RADIF in khaghani's poem− specially in the long noun and verb type of RADIFs− creates a visual balance and pleasure for reader.At the end, we should say that the Divan of poetry of any poet (except for Mowlavi) is not like khaghani' s, because of containing diverse images and new RADIFs.

Before this study, no independent research has been published about how systems of scansion work in Iranian song, and if a few minor and incoherent cases are found, they are limited to general references, or discussions about the relationship between music and poetry without specific references to the concept of "scansion of poetry". In this article, by examining the Davami vocal RADIF, the pattern of poetry scansion in Davami RADIF is introduced and analyzed.The samples and musical examples in this article have been selected from the audio collection of Abdallah Davami’s vocal RADIF and its notation by Dariush Talai (1398). This article is based on the theory of Omid Tabibzadeh (1382) about the meter of Persian folk poetry. Tabibzadeh considers Persian folk poetry to be of the accentual-syllabic type and he analyzes the meters of folk poetry by using the three concepts of line, half-line, and feet. In his theory, feet and half-line indicate the position of junctures or scansions in folk poetry. Based on Tabibzadeh’s idea, during declamation or reading of folk poetry, the scansions depend on the meter of the poem that this depends on the number of syllables and the position of the accents. Therefore, none of these scansions follows the semantic and linguistic boundaries of the words and phrases, but all of them depend on the meter of the poem.Davami, in the scansion of poetry, is more subject to its folk declamation style. Folk declamation of Persian classical poems imposes the meter of folk poetry on these poems. Therefore, the place of the scansion of poetry is determined according to this folk meter. This way of scansion, rather than depending on the meaning of the poem, is subject to the accentual-syllabic meter of the poem as a formal feature. For this reason, in Davami’s songs, we often encounter offbeat scansions that divide a word or phrase into two or more segments, regardless of the meaning. In conventional approaches to the relationship between music and poetry, this type of scansion is considered incomplete. But the proposed pattern in this article can simply justify all these offbeat scansions. In other words, these scansions are the result of Davami’s songs following of the folk meter of this poem. This pattern has also influenced the formation of the melody of his songs. Many melodic parallels in Davami vocal RADIF are formed with a specified meter segment that are set in one or more feet. In this article, the types of these parallels have also been named and introduced and need to be followed up and completed in future research. It seems that this pattern can be considered as a new approach against the current meaning-oriented approaches, in the relationship between music and poetry.