An investigation of Rhymes and Rows Structure in Kermani native songs of Shahrebabak City

The poet of ordinary poetry pays much more attention to music because music with an emotional effect prepares the mind of the audience to receive the poem's message. One of the most important pieces of music is rhyme and row in poetry; they have a special place in traditional Persian poetry and particularly in couplets form. In this article, in addition to introducing native songs and local couplets of Shahrebabak, the analysis of the structure of rhymes and rows has been done. Rhymes in native poems of Shahre-Babak, like all other dialects, are based on the alphabets of the near ending, and it is not based on the identical rhyming which is common in the formal Persian language. In cradlesongs and wedding poems, rhymes are sometimes removed to create music tone, or to use an extended pronouns to generate the rhythm. Rhyming is in the form of Masnavi in ​​more than 10% of Shabarbak folk couplets. The rhymes of the same alphabets, like /M/, /R/, and /M/, /N/ and /L/, /R/ are more or less frequent in popular couplets of Shahrbabak. More than one over three of local couplets is associated with the row. Most of the couplets are in the "current" row and only 5 % of them has inactive rows. Row functions in local poems inspire the poet's inner sense, reinforce the poetry, help translating the concepts, emphasize an image or subject, and create a sense of pleasure.