القيم التعبيرية للموسيقا في شعر الغزل الاموي

الموضوعات

ادب

الملخص

روابط وملفات

التعريف والنوع

رقم الوثيقة

073a183a-f377-4088-8f3b-03e131493f24

رقم العقد

0

نوع الوسائط

Crawler

نوع المحتوى

الرسائل العلمية

صيغة المصدر

رسائل دكتوراة

نوع الملف

pdf text

أسماء الملفات

1958659_1.pdf

بيانات النشر

ترجمة العنوان

The Expressive Importance of the Musicin Umayyad Courtship poetry

ألقاب المؤلفين

[{"name_ar":"احمد دواليبي","title_ar":"اشراف","title_en":"Supervision"},{"name_ar":"محمد قزو","title_ar":"اعداد","title_en":"Preparation"}]

اللغة

Arabic

المصدر والدورية

اسم المصدر

القيم التعبيرية للموسيقا في شعر الغزل الاموي

المحتوى والصفحات

عدد الصفحات

230

ترجمة الملخص

At the introduction of this research, it was shown to us that the talk is not the only means of expression, because the music takes its place many times realizing a certain expression. So, if the poetry lies in the words context, its music and un incomprehensible only by the word and its ringing, nor by the cadence and the rhyme, but it is through the sentiments and emotions that it expresses.We have also confirmed the role of the social environment in the poetry: its music very severe like the desert severity and the ruggedness of whom lived in, or quiet and nice because of the tenderness of whom was living in the city and near its gardens. This does not mean that one of them surpassed the other, by scrupulous description or clear expression: both are proficient, but it was the rhythm of musical lines that was varying between a poet and another.The poet had the fundamental role of the music art; his talent was at the origin of the creativity, and it was the main reason to prefer a poet to another. In order to realize the highest degree of musicality, poet should be familiar with people's nature and tastes and have a good phonetic articulation in which the rhythmic system of verses becomes more good .Also we found at the introduction explain that the taste was an increased or decreases aesthetic process, and that nobody can taste aesthetically a literary text if he does not advance his understanding to the level of what is being said. Just as we will not be able to recognize the musical values of the lines, or to for their forms beauty, if we lost our psychological readiness, and we didn't protect our self from all kinds of fanaticism. So if we are ready to hear and we get free from the fanatic mind, process will realize its highest goals.And this introduction concluded as follows: Between the Poet creator and the Receiver taster there is a relevant complementary relation, and if the relation bonds are interrupted between creator and receiver, the magical link that combines them will be lost, and the rupture will dominate, the separation will take a hold on them, and the concepts will be conversed; In addition, the convenient for one of them becomes worrying for the other, just as the good thing for one becomes disagreeable for the other.Also at the first chapter, it was found to us that the poets are acting in lines music, and they attached much attention to the internal rhythm, in order to approach to the receiver, and to request for his consent: So the exploded by the repetition his emotions and feelings, and they revealed by it the expressive energies that improve the level of performance of the verses, and they pointed by it to two things: The first one is sensuous giving to the general music of the verses some renewed energies, but the second is psychological in entering to the heart of the poet and in depicting his heartburn and feelings.And They were not been limited to the sound value of the and the interior rhymes, they are not a stylistic device the poet seeks to achieved, and they are not just some letters, similar and crowed into the end of the two , but they sought through which to establish an atmosphere of equilibrium and harmony, and to realize an expressive musical , behind the rhythm of which the poet disappears, and he expresses by it his thought and imagination, and extracted by its energies all incomprehensible and mysterious things.The Courteous Poets had succeeded in combining sonic and scansion, and in giving their poems a rhythmic momentum that increases the impact of their musical tone, also it increases its splendor and beauty. The accentuation phenomena was not always stable, its places and changeable depending on the time and place, because it depends to the emotions and to the multiple psychiatric states.The Umayyad Courteous Poets were more or less different in their musical ability: Some of them are , who was able to express by his words the meanings that he wanted, and the others were less than that.Because the Arabic taste prefers the accordance between words and meanings, and it renounces their discordance, we found at the Chapter II that the sense of the rhythm are unified to give the general form of the poem, and whenever the poet keeps the harmony between these two bases, he transcends by his taste and elevates by his poetry.And it is known that the coherence is a precious requirement sought by writers and orators; therefore poets sought to the harmonious phrases and appropriate sounds, because they are the first basis of beauty and the fundamental element of the Arab poetry. Many of the Umayyad Courteous poets succeeded to establish an atmosphere in poems that harmonize at that time with masters of melody who look attentively at it in their singing and tunes.Also they complied with contra-coherence which is characterized by a value of expressive ability, and which was able blow up the emotional energies inherent in the souls and transfer the internal conflict in.Poets have realized that the structures in the literary text had different meanings, and if the creator goes against them, a special aesthetic will be shown; because the Arabic language is rich in vocabulary and methods, so that it use many ways to express your feelings and sensations, and its expressions may be long or short, but in both cases they give the same meaning undiminished from anything. And the Umayyad Courteous poet used it as he liked: he mentioned for confirmation, love and suspense, and he omitted in other places in order to preserve the musical toning and the rhythmic symmetry.The case of definite and indefinite terms was not a creator passion so that he employs them whenever he wants, but it was an eloquence question and subject to the musical control. And if the indefinite term was passable with them and adequate with their basis, it should be good, otherwise the definition is better.Because the poet every time chooses carefully for his poems a fit position, so he gives priority or delays it, he joins or separates, taking advantage of the semantics and its expressive and musical values to address the internal sense of the Receiver. All poets were not equal before this matter, some of them failed and they could not hold the semantics reins, or control the emotions and the feelings of the Receiver.And it has been shown to us in the third chapter that the creative poet is not afraid to follow a bumpy road, and to present things from sound courses, in order to realize for his poetry the minimum admiration; hence he used the enjambment who came in degrees: it was easy, gentle, difficult or weak. rhythmic scale bases in the prosody music fixed and hardly changeable, and it is surrounded by a halo of strict laws that it make a lot of poets afraid to violate it; and if someone tried to be outside, he will hit what may be and what may not be; so we've seen that he was calculating his footsteps before he chose the metrics in which he will formulate his words.The rhymes at Umayyad Courteous Poets were not on one rank, some of them were sublime and elevated, because of easiness, facility or gentleness; and some other were less than it, because of heavy cadence or repetition and .As for the inclusion, the repetition of same rhythm, the predication and the reducing, they are phenomena that protected the poet from the monotony, also they drew Receiver's attention to their meanings.At finally, this research remains is just an attempt to study analytically the Umayyad Courteous Poetry, and to highlight it expressive musical values and their effective role in addressing the receiver's conscience and exciting his feelings. And we do not pretend that it is an unique study, since the important thing for us is to provide a point of view on a poetry said in time ago by some people and took the admiration of others, and to clarify how it is marred by ambiguity and vagueness, in order to facilitate it before the Receiver and to approach the meaning of his mind

إشراف وإعداد

الإشراف

احمد دواليبي

الإعداد

محمد قزو

الاقتباسات الببليوغرافية