One of the most important issues in the composition of Iranian songs is the selection as well as the recitation of the poem. The significance of this idea can be only viewed in the function of the poetry in forming MUSICal phrases. In this article, two phonetic characters have been studied and their position reviewed as they appear in the "Radif-e Avazi-ye Mahmud Karimi"; The effect of duration of syllable on forming rhythm and The effect of stress on melody. The researches done on language communicate with Iranian MUSIC could be descript with two approach. The first approach is emphasized on the meaning of the poetry. These researches have focused on how to utter the poetry and to transfer its meaning by words. The works of Hossein dehlavi (1378), Majid kiani (1371), Mohammad Reza Lotfi (1381), Mansour A' azami kia (1377) and Ruhollah khaleghi (1377) is found on this approach. The second approach in these studies is found on rhythm. Hossein Dehlavi (1378) in his study compares short, long and very long (Keshide) syllables with notes in MUSIC. Also, Majid Kiani (1371) have investigated this cases on rhythm in Iranian traditional song. Attention to the duration of syllable, also, could be seen in researches done on MUSIC of poetry. These researches are found on the metrical theory. This article intend to investigate Persian language communicate with Iranian MUSIC on the basis of linguistic theories. In the other word, this research intends to know the influences of some of the phonetically characters in poetry on forming MUSICal patterns. Therefore, after selection the 15 samples from figures of "Radif-e Mahmud Karimi" have been searched in these items: The identity between the duration of syllable in Persian words and duration of notes. This identity can cause to forming rhythm in Iranian song. - Producing melodic patterns in Iranian song by changing frequency in stressed syllable and changing intonation in Persian sentences. (Interrogative, conditional, imperative, compound, ...). The main object of this article is descript the similarity between the structure of MUSICal specialties of the Persian language and the same ones in the sentences of "Musiqi Dastgahi". In the other word, this research wants to reach to the effect of these characters in poetry, on firming MUSICal patterns. The results of this study are as follows: the duration of syllable in poetry' s words can assign temporal forming notes in Iranian song. Also, in level of stress, the transforming frequency in Persian stress creates the melodic patterns in "Radif-e Avazi". The arrangement of stresses in the syntactical phrases is not usually conforms to the investigated samples. It is because of some distance between the syllables in Iranian song. In the level of sentences and phrases, the variety of the intonation in the sentences of Persian language proportionate with some of the figures in "Radif-e Avazi". These cases cause to some of the techniques like temporarily stopping before"Shahed", also adding a syllable to words' syllables.

The Ashura event influenced the composition of some of the melodies and types of MUSIC. In this article, the beauty of Yazd's lamentation, VOCAL MUSIC of Ashura poems, and their effects on the MUSICal system are the subject of study. The composer establishes the theme and then makes similar themes to expand the poem. While reciting the poems on Hosseini Ashura, the singer progresses with the change of tone and modulation. As a result, in Yazd's Ashura poetry and lamentation, the combination of poetry with the style of song melodies, the presentation of a specific type of MUSIC called "Bayat Yazd", the use of MUSICal jumps, and also new melodic styles are some of the characteristics of this kind of poetry. Poetry is the MUSIC of words and phrases; this is even more important in the lamentation poem because, in addition to the proportion of meter and content, it also requires the function of a MUSIC type. The MUSIC of Ashura's poems affects the word and the meter in the same way. Yazd's Ashura poems have developed in terms of the appropriate meter, theme, style, language, and MUSIC. Sometimes, according to the MUSIC and melody, the meter, form, and rhymes could be modified. All of these modifications depend on the poet's sense and experience. When he opens his mouth, he reveals his hidden meaning with his melody. If the beats create a melodic style, it is called the rhythm of the MUSIC, and if the beats represent how the words flow, it is called poetry. Singing is a sub-device. The VOCAL lines add a specific beauty in performing the lament. In expressing and reciting Yazd's lamentations, knowing the beat and method of breaststroke from one, three, five, or seven, and sometimes a mixture of beats is necessary. Combining different types of external MUSIC with semantic and internal MUSIC creates a new atmosphere in lamentation. The main variation of lamenting is the addition of frequent or non-repetitive sections. Poets who want to take the path of Ashura should first comprehend the song's spirit and the secrets behind it because not every poem is suitable for every kind of singing. The secret of Yazd's Ashura lamentation and poetry is the novelty of the theme, the combination, and connection of the poem with the melodies, which includes the events of Karbala and recounting the emotional, moral, and cultural needs of the people of their time. But before composing a poem, the composer should consider the extent of the singer's voice, performance, and the way he expresses himself because each singer's voice has characteristics that if the composer does not consider such features, his song could not be so heartwarming and impressive. The Ashura poet can connect the geometric composition of the word with the MUSIC. He familiarizes the strings of each song with the texture of each word in creating an Ashura-Hosseini poem. In Ashura poems, melodies or selected MUSICal sentences and meters, in addition to beauty, reveal the content of speech and express the tragic event of Ashura and the desert of Karbala. The role of MUSIC and sound in the poems of lamentation is theological. The MUSIC of the lyrics complete and promote the art of lamentation rituals and keep alive the Ashura culture.

Persian poetry forms–at least since the time of Rudaki- have played a significant role in Iranian’s lyrical MUSIC. In most of Iranian songs since the time they were recorded on gramophones to day are seen pieces of sa’di’s ghazals. Sometimes it is so outstanding as if there has been no other means more suitable to the singer or player mood than sa’di’s ghazals. The question now is “why sa’di’s ghazals are deeply ingrained in Iranian MUSIC?” or “what feature in sa’di’s poetry has caused his ghazals to be favored in relating Iranian MUSIC?” It seems as if sa’di himself has composed his ghazals just for this purpose and he has been familiar with Persian present radif of MUSIC...

After pointing out the importance and the essentiality of studying MUSIC in anthropological researches, some characteristics and features of Turkmen MUSIC is highlighted and in the succeeding sections a brief explanation about lāle and hudi VOCAL MUSIC, āytarek-gontarek and sārija qāvin VOCAL plays, various kinds of MUSIC therapy in Turkmen society such as porxāni, zekr and playing pipe and dotar by sick persons suffering certain diseases like measles. MUSIC amid Turkmen, in addition to general characteristics that can be found in other societies and ethnic groups, has certain distinctive features, which can be related with a civilization of great antiquity, the sort of feelings and emotions people acquire through being brought up in this particular culture, geographical quality of their habitation, the surrounding nature, historical events, social factors, unfavorable and favorable memories.Generally in the Turkmen culture MUSIC has an eminent standing and shows a significant and meaningful existence, directly and indirectly, in different ceremonies and in diverse forms of instrumental, VOCAL and VOCAL-instrumental.In this research comparative method and fieldwork have been employed, note-taking from texts and books together with direct, regular observation, participatory observation and interviews were also put into practice. For this purpose various parties and receptions, in which MUSIC in its different forms was essential, was contributed to and people informed and involved in these receptions were interviewed.

Introduction: Academic motivation can be perceived as a factor in deciding to continue academic education. One of the new models in this area is Jones’s model of academic motivation (MUSIC). This study aimed to test the seven-factor structure of this motivation model in medical sciences students.Methods: This descriptive study was conducted on 378 students (197 females and 181 males) of Urmia University of Medical Sciences who were selected through cluster sampling method. Data were collected using Jones and Wilkins’s 26-item students’ motivation questionnaire. Amos-16 software was used for the correlation matrix analysis and confirmatory factor analysis.Results: A positive significant correlation existed among the components of the model. Goodness of fit indices showed that the seven-factor model provides a good fit of students’ academic motivation. Conclusion: The seven-factor structure of academic motivation (MUSIC) model can be highly useful in developing and promoting students’ academic motivation and participation.

The purpose of the article is to exhibit this fact that embellishments, despite of their lexical meaning, do not play just an ornamental role in Iranian classical MUSIC, but they have an extremely important function to form the structural facets of Dastgahi MUSIC; in fact, the embellishments are irremovable elements in the mentioned MUSICal system. First of all, some brief explanations about concept and function of embellishments in Iranian classical MUSIC would be cited. Then, we will divide the embellishments, based on an especial approach, into two groups: Tonic and Modal. Tonic and Modal embellishments are used to ornament a specific tone and a specific mode respectively. The first kind of them is too widespread and varied in Iranian classical MUSIC and includes the kinds of vibration, tremolo, glissando, trill, mordant, staccato, Dorrâb, Kande Kâri, Eshâre, Tekiye, Pejvak, Shalâl etc. They are applied in both of instrumental and VOCAL Persian MUSIC. Among the important MUSICal techniques which have always been considered as ornamental component by Iranian performers and MUSICologists, sometimes a long continuum of tones that is called Tahrir (Melisma) can be seen. Tahrirs are remarkable embellishments in Persian VOCAL and instrumental MUSIC. Tahrir is a “falsetto break or cracking of the voice in the form of the grace note above, and between the notes of, the melody line”. This phenomenon is called Chacha in the vernacular Persian term. From author’s point of view, the Tahrirs are the most important sort of the second group. Consequently, the most significant part of the article would be focused on clarifying the meaning and function of Tahrir in Iranian classical MUSIC. At the mentioned part of the article, according to the statistical study, we will show that the Tahrirs take more than half of the time of a specific MUSICal performance. The mentioned statistical study would carry out based on assessment the measure of Tahrirs utilization in 35 records of famous Iranian VOCALists; such as Seyyed Ahmad Xân, Hosein Xân Ta’ziye Xân, Ghorbân Xân, Soleimân Amir Qâsemi, Jenâb Damavandi, Seyyed Hosein Tâherzade, Hosein Ali Nakisâ, Abolhasan Eqbâl Âzar, Rezâ Gholi Mirzâ Zelli, Ghamarolmolouk Vaziri, Tâj Isfahâni, Abdollâh Davâmi, Adib Xânsâri, Ruhangiz, Gholâm Hosein Banân, Hosein Ghavâmi, Mahmoud Mahmoudi Xânsâri, Mahmoud Karimi, Hosein Xâje Amiri (Iraj), Razavi Sarvestâni, Râmbod Sodeif, and Mohammad Rezâ Shajariân. All of the case studies are in Dastgah-e Châhârgâh (one of the twelve multi-modal cycles in Iranian traditional MUSIC) and Âvâz-e Isfahan (The Âvâz is traditionally regarded as a derivative Dastgâh whit the fewer Gushes). According to this investigation, we will see the Tahrirs involve more than 55 percent of Iranian VOCAL MUSIC duration; it seems that this result can be accepted about instrumental MUSIC too. As a conclusion of the article, it is clear that, the embellishments, at least in Iranian classical MUSIC, are not omissible elements. Additionally, they have an organic relation with main body of the MUSIC.

Background: Voice production is a complex mechanism, and the primary tool of the population of professional voice users requires special care. Hence, one area of learning provided by speech and language pathologists to this population is VOCAL hygiene. The current study was conducted to investigate the effectiveness of VOCAL hygiene education on actors’,knowledge. Methods: In this semi-experimental study of one-group clinical trials, 50 actors (29 males and 21 females aged 18-50 years) were selected based on available sampling. Participants were asked to complete the “, assessment of actors’,VOCAL knowledge”,questionnaire. During 4 sessions lasting 60 minutes each, the participating actors were trained on the VOCAL hygiene package. One week after the last training session, participants were again asked to complete the questionnaire. Data was analyzed using SPSS software version 21, and indicators of descriptive statistics were analyzed. Results: The mean score of voice abuse and non-abusive behaviors, which was 23. 34 before training with the VOCAL hygiene package increased to 28. 56 after education, a statistically significant change (P<0. 001). The level of knowledge of participants on the mechanism of phonation increased after education from an average score of 10. 12 to an average score of 11. 21 (P<0. 001). The mean score of knowledge of larynx pathology after education rose from 16. 58 to 21. 44, a significant change (P<0. 001). Conclusion: The provided VOCAL hygiene educational package increased the actors’,knowledge of the mechanism of phonation, voice abuse and non-abusive behaviors, and the functional and structural disorders of the voice.