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One of the outstanding language features in free Nima's poems is his characteristic and distinctive syntax. Nima named this linguistic characteristic as "morphological and syntactic combinations". Examining Nima's syntactic combinations shows that these combinations have functions in Nima's poetry, and one of these functions is its role in creating the music of the poem. Since the syntactic combinations releted to adjectives have a high frequency in Nima's poetry , this article after explaining the types of syntactic combinations of Nima in adjectives; such as the expansion of the adjective, putting a distance between the adjective and the adjective, the use of the adjective as a substitute for the adjective, etc., it expresses its function in creating the music of Nima's poetry and concludes that through his syntactic combinations, especially about the adjective, Nima tried to make the natural music that the words It matches the feeling and theme of the poem.

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The practice of English as a medium for learning academic subjects in academic settings is becoming more popular all over the world. However, its application in music in countries where English is not the first language is controversial. Indeed, English Medium Instruction (EMI) is growing promptly in various territories such as the Middle East and North Africa as a part of internationalization. The application of EMI plays a crucial role in improving learners’ English skills and subject matter which can also affect learners’ achievement. The most important predictor of learners’ performance and success is self-efficacy which is also a relevant concept in the area of music performance. Although self-efficacy is significant, its contribution to music learning and academic accomplishment in EMI courses seems critical. Indeed, it should be taken into consideration as it is in direct relation to learners’ academic achievement. As a result, the main objective of this review is to inspect the contribution of self-efficacy to music students’ academic achievement in a context where English is used as the medium of instruction. In a nutshell, the current paper ends up with some suggestions and recommendations to be used by teaching participants in scholastic situations.
 

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Music is one of the effective factors in the global poem and literature. Particularly, if the poet’s work is composed based on the conscience truth and humanitarianism, and is far from any artificiality and artifice as well as is replete with various types of musical additives. Sadi Shirazi and Shamsuddin Kufi have made their odes more musical through selecting the two Tavil and Kamel meters (as the best models of expressing the man’s heartfelt feelings) and applying such various kinds of imagery as pun, symmetry, antithesis as well as appropriate words and the musical satire, in a accordance with the meaning and musical atmosphere of ode. The musical atmosphere of these two odes represents the increasing strangulation and the heavy atmosphere of Mugul attacks. In these two odes, the atmosphere is filled with anxiety, grief, internal blast, severity and violence, and one can observe these points in each rhythm of their ode letters. In addition to these advantages, Sheikh Shirazi’s being a non-Arab and the downfall governing the then Arab society following Mugul attack, have triggered some problems as the prosodic error of Esraf and Ejazeh in the music of these two worthwhile poets’ odes. An attempt has been made in this work to investigate the musical atmosphere of Sadi Shirazi and Shamsuddin Kufi’s odes through library research and by using structure analysis method.

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Aquaculture production is often accompanied by some stressors which undesirable effects on growth and physiological function. Music is one of the cases that could eliminate or reduce the effects of stressors. The purpose of this study was to determine the effect of Iranian traditional music on growth, reproduction and behaviour of zebra cichlid (Pseudotropheus zebra). Fish with an average weight 5.5  0.18 g were put under both music and silence treatment with the number of 2 fish/aquarium with 3 replicates for 4 weeks. Fish under music treatment were put twice a day and every 30 minutes under the Iranian traditional music. At the end of this period, suitable conditions for fish were created to spawning. The results showed no significant differences in growth parameters, but 50 percent of fish during the 2-week were spawned in music treatment. However, only 16.6 percent of fish under silent treatment were spawned. Of eggs and spawn time, significant differences were observed between two groups. When is music being played, the fish were found mainly along approach the speakers, while the distribution of fish treated silence was uniform. The results of present study showed that use of music can affect physiological function of fish, which have more tranquility and less stress on fish.

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Since, proverbs are composed of bits, line, concise sentences and musical metaphor: they are considered a type of Persian literature. One of the reasons for the spread of proverbs is that they indicate the general and pervasive thought or experience in the shortest terms. In addition, the music (the use of the balance of sound in speech) has a big impact on the development and spread of proverbs, and causes the listener to enjoy the magical word. Sometimes, the music is so strong that the collective memory of the community, regardless of the meaning of some words, enjoys the harmony and melody within it. Shafie Kadkani named it "magic vicinity". In this study, the book "Dästännämeye Bahmanyäry" by Ahmad Bahmanyary, which is about six thousand proverbs, is examined from this perspective. The results of research show that fifty proverbs in this book enjoy a variety of musical balance and literary industries as parallelogram rhyme, pun, and phonological layout and repeat, which are the largest in the musical of proverbs. Also by presenting numerous examples, the theory of Shafie Kadkani about the formation of some proverbs based solely on magic vicinity is proved.

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Sahba ,F. ,Ph.D.
 
Abstract:
 
Metter which refers to an order in utterances and makes them more imaginative is an integral part of poetry. In spite of all efforts made aimed at ignoring meter and at extending the poetic prose, the Persian speakers are still inclined to prefer metrical poetry.
M.Sereshk-.Shafii Kadkani- theoretically believes that poetry is musical manifestation of language. This statement means that meter in the main component of Shafii kadkani’s poetries. With due regard to this theory, the present article is going to focus on and analyses the external music or meter in Nimaic Poems by Shafii Kadkani. For doing such research, one hundred samples of Nimaic poems have been studied respectively from the first half of the book “second millennium of the gazelle”(Hazareh-ye-Dovom-e-Ahou-ye-Kouhi) and the results have been presented by use of data analysis. Out of the result is that Shafii observed the rules and regulations established by Nima while Shafii has done some initiatives. 
His choice of meter is unconscious. He has a natural inclination towards the meters such as “Ramal” and “Mozareh” exploited by Hafez, Saadi, and Molavi in their best sonnets. Caesuras, pauses, long syllables and short ones are selected in the most effective manner to convey emotions and meanings in his poems.
 
 

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 Omranpour ,M.R.,Ph.D.
 
This article is going to analyses rhyme in Nimaic Poems by Shafii kadkani. Therefore, Nimaic poems is extracted from the first two hundreds pages of The book Second Millenniumof the gazelle (Hazareh-ye-Dovom-e-Ahou-ye-Kouhi) including “Elegies on Kashmar’s Cypres” (Marthieha-ye-Sarv-e- Kashmar) “a line on Dejection” (Khati- Ze- Deltangi) and a part of  “A Sonnet for the Sunflower” (Ghazal- Baraie- Gol-e- Aftabgardan) and  are discussed based on various rhyme schemes.
            Shafii Kadkani is aware of the miraculous power of rhyme and exploits different possibilities of rhyme for creation of devise music, link between utterances and etc. Rhyme in his poems can be studied variously. This article is based on analysis of internal rhymes, double rhymes, mixed rhymes and etc. The major element in the aesthetic analysis of his poetry is applicable to those rhymes in which he has innovation and creates parallel rhymes, balanced rhymes, etc. The result is indicates that he is more inclined to use balanced rhymes.
 
 

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Music and Sama are amongst the most discussed elements in the history of Islamic mysticism and sufism. Rumi’s standing on this subject was close to the intoxicated sufis. He favoured it, promoted it and believed it to be one of the main pillars of the mystic path and journey to Allah. In the cultural sphere of the 19th-century Europe, Nietzsche, influenced by the East, and having a unique way of looking at the concept of excellence and human movement towards evolution, in order to save the alienated human kind who due to the weakness of the church has forgotten the God, brings in music as a principle in human evolution and salvation, which is very close to the Rumi’s idea of music. The two thinkers share paradigms of thought in a) familiarity, identification and the origins of thought, b) the relation of music to the eternal song of the universe, c) music as a way to catharsis and soul purification, d) the relation between music and language, and e) the relation of music to passion and ecstasy and the Nietzschean idea of affirmation. All these lead us to the conclusion that the two thinkers had very close, and sometimes, matching ideas about the origin, existence, function, and effects of music, yielding to a substantive connection.  

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Tetrastichous is a sort of common oral poetry in the villages of Khorasan, which can  be considered the developing form of those three hemistich or tetrastichous of Sassanian's periods. This paper, by searching different evidences, indicates, that this type of poem in its early stages has been only a syllable, and by emergence of iambic poetry has enjoyed rhythm. By comparing 2000 of written Tetrastichous and variety of recorded cases in the villages of Khorasan, the structure of repeating this type of poem has also been specified that we will point to some of these evidences. Also, we will discuss about the structure of these Tetrastichouses and specify the reason of this oral tradition’s continuity; a tradition that still exists among  the rural poets and musicians. At the depth of the discussion, we will discuss indissoluble link of this type of poem with music. In the section of outside form, we will indicate the variation of rhyme in this type of popular poem, and finally, we will point, in the domain of thought and emotion, to the reasons of shaping this type of poem, especially among  the villagers and the masses

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Problem: The concept of urban public art and its emergence in the public sphere is one of the most important factors in strengthening and accelerating the process of the creative city. Street music as an urban public art, is an influential event in urban communities that seeks to improve the quality of social life, strengthen collective memories, increase the level of vitality and dynamism of the city and achieve creative urban development.
Target: The authors try to redefine the importance and significance of the urban public arts event in urban spaces, identify the feasibility of performing street music in social environments. The green corridor of Shahrchai and the Khayyam Jonubi sidewalk of Urmia city have been studied.
Method: In this regard, in the present study, information has been collected with the aim of application and descriptive-analytical nature and by using documentary-library methods, questionnaire and interview tools. The statistical population and sample size consist of two groups of experts, thinkers and university professors and active members of street music, which includes 60 samples including stratified or group sampling method. For quantitative analysis, the methods of Kolmogorov-Smirnov, Spearman Correlation, Swara and Cocoso have been used. 
Result: According to the findings, the social, cultural and environmental dimensions and the indicators of "possibility of live music performance" and "quality of environmental design" have gained the highest and lowest levels of importance, respectively. Also, the green corridor of Shahrchai has more favorable conditions than the performance of urban Public arts (street music) compared to the Khayyam Jonubi sidewalk of Urmia.               

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Urban art, as a fluid event in the city, seeks to reduce vitality due to not paying attention to creating a vibrant urban space and creating changes in social and cultural behaviors. In the urban place, different types of arts can be seen, among which music has received less attention so that the physical-spatial scene of the city does not have a suitable place for performing music. Nowadays, in the urban space, a different kind of street musicology has been formed, playing and singing mostly as a solo or two-person performance.
This study aims to investigate creating a sense of belonging and vitality to the urban space and music audiences and the effect of music on the audience in the urban space.
The research method in this article is based on the preparing a questionnaire and selecting three different statistical populations, considering the effect of music on different sections of society. The current study is a case study of Khayyam Street in Urmia.
The results of the research indicate that, from the point of view of businessmen, passers-by, and music teachers, street music as a street art has a significant impact on urban space, music cultural as well as urban vitality and audience attraction, giving the audience a sense of belonging to the urban space.
 

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Mirzania . M., ,PH.D

 Afkhami . M.A.
Abstract:
 
Nezami is one of the famous poets constructing innovative images. Among the terms used are musical terms and idioms .Nezami seems familiarized with musical instruments and idioms and he has artistically used them in three areas, i.e. lyrics, epics and mystical and virtual issues. Implementation of there terms goes well with the context of Khamseh.
In Makhzanalasrar, these musical instruments and idioms are used to express mystical and virtual meanings in Khosrow va Shirhn. Leili va Majnoon is tragic love story, thus, these musical terms are implemented to display grief and sorrow of the two lovers. In Haftpeykar, however, these musical terms and idioms express a fanciful love. These musical terms and idioms bring excitement, and fancy to the maximum level.
Sharafnameh is a story about Alexander, the conqueror, and we observe that the musical terms and idioms are best used and finally in Eghbalnameh. We also see that a picture of Alexander is as a prophet. Therefore, it can be observed artistically. Nezami can make use of innovative images with use of musical instruments.
 
 

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The literature of each region reflects the customs and beliefs of that particular region and is the distinguishing feature of races from each other. Folklore of each nation is a reflection of its cultural and racial beliefs and through investigating them, one can find out about traditions and cultures of various races that have entered and remained in that area through immigration, war and business. Through separating these cultural and racial beliefs, one can also reevaluate that race from a cultural perspective. Music of every nation, like other arts, springs out of feelings, experiences and the surroundings of that nation and it has contained and built a big and important part of every society throughout the history of mankind. Human beings mix their internal feelings with the knowledge they have acquired through trial and error and creates a fruit called art and civilization. One of the objective manifestation of Kurdish culture is folk songs. Songs have not been and are not simply tools to pass life, but are useful tools for transferring feelings, happiness and sorrow. One of the ever-lasting songs among Kurds, and in particular Kurds speaking the southern dialect, is Houreh which is prevalent in areas such as Ilam, Kermanshah, Lorestan, and Kurdistan. Houreh is a long continuous song and its singer has a lot of poems and verses in mind and sings them one after the other. Sometimes the songs are composed by the singer and sometimes taken from other poets.
Houreh is mostly prevalent in southern Kurdish areas especially with Laks, and in areas of Guran, Sanjabi, and Kalhor. Seyyed Gholi Keshavarz, Ali Rostami known as Ali Khan, Farman Rostami, Ali Karami Nezhad known as Haji Touti, Bahram Beig Valad Beigi, Nejat, Ebrahim Hosseini, Ilkhan Arkavazi, Awl Aziz, Yasemi, Karim Sadehi, and Abd Al-Samad Abdi Pour are famous Houreh singers of Ilam, Kermanshah and Kurdistan provinces. But, the deceased Ali Nazar is most well-known of all.
Houreh expresses contents such as death, describing nature, sorrow, hardship, happiness, and unhappiness in the form of songs. However, the most frequent theme of Houreh has been happiness and love. Seyyed Gholi Keshavarz is one the most famous contemporary Houreh composers who lives in Lalehvand Mahidasht (in Kermanshah) and many of his Houreh are song by lovers of traditional Kurdish songs. He pays special attention to describing the beloved in his Hourehs and using this form of songs, he expresses the hardships of love and betrayal on behalf of the beloved, or the pains one endures for love. Another part of his songs are composed in the form of Ekhvaniat and also Payeh Moori describing the beauty of nature or death.

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Bushehr province can be considered one of the country's historic provinces. In terms of popular culture, this province is one of Iran's richest treasures. This immense treasure has increased, especially in ritual music, mourning and requiem. Due to the traditional subcultures and the particular geographical conditions of this province, folklore plays an important role. This research tries to investigate the typology of requiems analytically. Research methodology is library-based and field study.  Thus the main objective of this study is to explore common folk requiems in special domains such as Senj Va Damām , Zikr , Alam, book reading, Pish Khani , Pāmenbari, chest beating , Ali Asqar lullabies, Qasim’s Hijlah , Chavosh, Rawda khwani, like Zhuljanah, Shāme Qaribān used in the mourning ceremonies of Bushehr province. In addition to the typology of requiems in Bushehr Province, the findings of the current study indicate the influence of these verses in terms of language, expression, thought, music and format on the ritual literature of this province.

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The objective of this article is to describe and classify the occasions on which martial musical instruments used to be employed throughout the history of Iran in post- Islamic eras. Should historical, musical and illustrated documents are investigated, it will be realized that, throughout the social history of Iran in post- Islamic eras, martial musical instruments not only were used in wars but also on other occasions on which the high intensity of sound was needed. Presently, the applications of these instruments are regarded as obsolete. Owing to the fact that the most significant reason behind abandoning martial musical instruments was drastic decrease of their usage, identification and descriptions of such occasions on which these instruments were applied, are of great importance. The situations in which martial musical instruments used to be employed, throughout the history of Iran, fall into the following categories: wars, spreading news, flexing military muscles, hunting, travelling, animals’ shows such as olden circuses, athletic competitions and mourning ceremonies. Among which, wars, spreading news and flexing military muscles of rulers were the most significant of all, in as much as playing martial music on such occasions used to play a crucial role. The rest of the occasions comparatively were of less importance, for they had little political and state consequence and sometimes, they were regarded as merely popular situations. The overall method in this research is descriptive – analytic and gathering data is based on library studies.

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This current and interdisciplinary research in the fields of cognitive science, clinical linguistics, neurobiology of language, and language pathology tries to solve language-related problems and disorders. The present research aims to provide a comparison of the effect of stimulating mirror neuron system through music induction and intentional movement imitation on the increase in the average number of verbs in a sentence in free speech of autistic children. For this purpose, first, two pilot studies were performed in 12 sessions on 2 autistic girls aged 6 and 7 for four weeks in Iran University of Medical Sciences, Faculty of Rehabilitation Sciences. After observing the positive and effective results of these two methods, other samples, i.e. 6 autistic monolingual Farsi speaking girls aged 5-8 were selected by convenience sampling, and underwent 42 sessions (i.e. three 20-30 minute session) of training over 14 weeks. The samples divided to two groups; during training intentional movement imitation in the first group including 3 subjects, no music was played in the class, while instrumental music (wordless music) was played in the class for the second group including 3 subjects during training intentional movement imitation. To evaluate the index of average number of verbs in a sentence, speech of the subjects, after and before intervention, was recorded during the play and everyday conversation. Then, the average number of verbs in their sentence was measured. The research findings were examined using SPSS software (version 20) by Paired-samples t-test and ANCOVA test. The obtained results indicate that the average number of verbs in the sentence significantly increased after the training course in both groups. In addition to the significant changes in all the subjects, the average number of verbs in the sentence in the subjects of the second group showed a significant difference compared to the first group. Based on the research findings, it can be said that stimulation of mirror neuron systems through music induction and intentional movement imitation positively affects the increase in the average number of verbs in the sentence in autistic children. However, it should be mentioned that audio-visual-motor stimulation of the neuron system has a greater impact on verbal skill development of autistic children.

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M.Ruhani, PH.D.
M.Enayati Ghadikalaei
Abstract
Among elements that make acquaintance with language is the music and hence; majority of theorists consider rhythm as essence and substance of poems. There were four kinds of musical Persian poetry in different period of times i.e. external music (prosodic rhythm), littoral music (rhyme and order), internal music (verbal innovative) and spiritual music (spiritual innovative).
With the emergence of Nima in the contemporary poetry, the musical poems witnessed changes. Followers of Nima expanded their feet beyond and some of them like Shamloo were rather in favor of complete freedom of the classical rhythm. In the meantime time, these poets also could not completely ignore musical application and hence; used internal music instead of the external ones.
The current research tries to highlight that group of literary presentations in the poems of Shamloo whose elements are based on vocal recurrences as well as the role of these elements in creating the internal music. Since the axis of music means common phrase is based on variation and recurrences, each of their manifestations in rhyme if are not external or littoral music, they are placed in the domain of internal ones. Studies show that Shamloo has applied kinds of phoneme and recurrences and the principle reasons of their applications are as follows: making music rich, on particular topics, remedying doubt of singer, creating haven of words and attracting audience.
 

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“One Thousand and One Nights”, has continued to grow until the end of the twelfth Hijri. There are therefore several historical layers in this stories, including the historic layer of Baghdād which represents the history of the Abbasid caliphs and the court that accompanies it. Satan’s companionship history with Abū Isḥāq Ibrāhīm al-Mawṣilī and the history of Ishāq al-Mawsili with Satan – two expert minstrels of their time, fit into this same layer. Although these two stories were made and discussed in Baghdad, the themes used in their infrastructure are not anchored in Baghdad in Abbāssid dynasty but rather in pre-Islamic Saudi Arabia because they are based on two ancient Arab myths. The first is the long-standing link between jinn and music, and the other is the recognition of jinn as an inspirer who emerges in the belief of "obedience to Cohen" and "the devil -the poet". An upcoming exploration of ancient Arab sources shows how the storyteller, influenced by these myths, describes Iblis as a masterful minstrel who teaches musician Abū Isḥāq Ibrāhīm al-Mawṣilī.
 

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Different types of music in accordance with different human characters and emotions have always been made and performed. Similarly, there have been various music types suitable for diverse wild and domestic animals such as quadrupeds, poultries, and even insects. To put it simply, the behavior of these animals would stay somehow under control through different melodies appropriately-chosen for the nature of each of them. Hunting was one of the activities which music had become integrated with. In the course of hunting, the music by various instruments, either martial or festive (lyric), was played in different purposes. One of the purposes procured by the performed melodies was controlling animals’ movements of the hunter’s volition, which would ease the act of hunting. The hunters had very well understood that a group of animals were attracted to the soft tuneful music they hear, so they would try to approach the sound source; besides, another group hearing the strident sound of ear-splitting musical instruments like horn and drums would become terrified and then leave their places fearfully, which would provide their more exposure to the hunters. Thus, employing musical influence, the hunters would make animals leave their nests and guide them to a desired area for hunting them much more easily and in a reassured way. This paper revolves around the existence of the above-discussed awareness of such an influence together with the pieces of advice and recommendations being made to the hunters in this regard.