Rhythmic Interactions of Music & Poem in Tasnif of Qajar Dynasty

Since 1981¡ some rules have been gathered in the form of a book in order to harmonize poem and music. At that time¡ the researches were rejecting ancient “Tasnif” based upon the frameworks developed by them rather than seeking to discover aesthetics within such “Tasnif” and their evolution. The theoretical basis of researches in this era was rhythmizing the discourse according to metric reading of vocabulary¡ while in “Tasnif” of Qajar dynasty¡ composed prior to prescribing such rules¡ there is a relative relationship between quantity of syllables and quantity of melody and in some cases flexibility can be seen in paralleling the quantity of syllable and melody. Obviously¡ for short syllables in comparison with long ones¡ the quantity is selected as a shorter melody and in this debate we call it “dominant side” and the cases in which such relations have not been met properly are named as “lack of conformity”. The lack of conformities may be caused by verbal¡ musical and language necessities. The long syllables in comparison with the short and stretched ones have more flexibility to accept non compliances and shortening the long syllables is the most common lack of conformity. Extending the quantity of tone of different kinds of syllables are also common to some extent and there is seen no limitation in using them. The important point is that the sequence of short syllable with the quantity of long melody and long syllable with quantity of short melody are rarely seen and this is the very lack of consecutive and reverse conformity. There is no difference of approach toward open or closed syllables. The tempo and time of melodies are effective in admitting the lack of conformities¡ as well and they have more preparation to adhere to the changes in a range between 0.4 and 0.80 seconds. The proportion of melodies changes toward the dominant side are normally half or double and other proportions are seen less.