Analysis of sa di's lyricism style in relation with Iranian vocal music

Generally, Iranian poetry forms, at least from Rudaki up to now, perform very important role in formation of vocal music. In the most of these works which have been recorded on the platters, traditionally ever, there is a trace of sa’di’s sonnet. Sometimes this sign is so prominent that an insistence or intention on the use of sa’di’s sonnet for musical narrative of internal states by singer (and musician) and compatibility with mental ideals of listener will comes to mind. The question is why sa’di’s sonnet has associated with Iranian music so much, or which feature of sa’di’s speech has encountered, and does, his precious gem with such luck in the narration of Radif of Iranian musicSo if sa’di has not composed sonnets but for this purpose, or he has been acquaintance with current Radif of Iranian music. In other words, what hidden point is there in sa’di’s speech that without any claim – unlike poets such as Manuchehri, Rudaki, Farrokhi, who explicitly admitt to their musicianchip and singing – has adapted his poem with Radif of Iranian music more thanthe former contender poets. This article, relying on content analysis method, is an attempt to answer these questions.