A study of the aspect of musical familiarization in the poems of Mahmoud kianoosh

This study has investigated the aspects of musical familiarity in Mahmoud Kianoosh's children's poems with a formalistic approach and an analytical-descriptive method. Russian formalists pay special attention to language, and especially to the music of language, to the extent that they prioritize speaking over what is being said. The composition of children's poetry is also based on the central axis of language music. In this transition, the importance of paying attention to musical factors in children's poetry becomes more apparent. Factors that lead the word towards poetry and, according to the formalists, lead to linguistic prominence. From applying this theory to Kianoosh's childish works. The linguistic distinctions in the external and peripheral music axes, two obvious factors emerged that have caused the linguistic importance of his youthful poems. With the help of classical and modern poetry, he has identified the language of children's poetry and led it to be musical. Kianoosh's art uses rich types of rhymes and dynamic rows, relying on selected prosodic weights, and in the sense of hearing, it is like arrogance and pride. He uses his ability to take advantage of the pleasant weight of the stream and pay attention to the functions of the line and the rhyme and focus on matching the theme with the poetic weights and has shown the audience the use of verses and sequences related to the theme of the poem. He has deliberately and consciously used every musical element in the poem to turn the child's poem into a creative and dynamic poem. Therefore, he should be considered the pioneer of modern child poetry in Iran.