Examining the aspects of musical aesthetics of Nusrat Rahmani's group (Kooch and Kavir).

Music is one of the prominent features of language and music of speech is one of the most prominent manifestations of poetry. Poetry does not have much effect and beauty without having musical aspects. One of the main characteristics of Nimayi poetry, in comparison with classical poetry, is the evolution in the types of verbal music and the use of its types. In this article, which has been done in a descriptive-analytical manner, the types of music (external, lateral, internal and spiritual) in Nosrat Rahmani's "Koch va Kavir" collection have been studied. The results show that Rahmani in this collection has used internal music (types of repetitions and puns) to create a kind of unity in the axis of companionship and the effect of his words. To create fit, beauty and rhythm of his poems, he has used external and side music. In this section, Rahmani has used about twelve prosody weights. Most of his quatrains in this collection are without "rows" and only the rhyme forms the side music. He has also used the aesthetic elements of speech such as (simile, metaphor, proportion, paradox, sensuality, symbol, permissible and contradiction) to add semantic richness and strengthen the spiritual music of his words. And finally, the use of pure and beautiful combinations with respect to the connection with music and imagination, has caused it to be closer to the ultimate goal of poetry.