تکیه عاملی صوتی برای برجسته‌سازی یکی از هجاهای کلمه است و آهنگ کلام تغییرات صوتی گفتار است که در واقع طرحی از تکیه‌ها است. تأثیر چهار تأکیدِ زیر و بمی، شدت، متریک (محل ضرب)، آگوگیک (کشش) برای اعمال تکیه در موسیقی مفروض بود که طی این پژوهش مشخص شد که تکیه بیش از همه با تأکید زیر و بمی منتقل می‌شود و میزان زیر بودن اهمیتی ندارد. برای بازتاب تکیه در موسیقی کافیست نت مورد استفاده برای هجای تکیه‌بر از هجای بالقوه زیرتر باشد و زیرایی سایر هجاها در انتقال معنا تأثیر ندارد. منابع پیوند شعر و موسیقی بازتابِ تکیه و آهنگِ کلام در موسیقی را با توجه به دو ضرورت انتقال معنا و حفظ کیفیت زبان ضروری دانسته‌اند؛ اما از آنجاییکه کیفیت زبان خود تابعی از لهجه و فضای احساسی گوینده است و عنصری ثابت نیست ضروری دانستن آن بر این اساس فقط در حوزۀ سلیقه قابل قبول است اما انتقال معنای کلمات در موسیقی اهمیت دارد ولی نمی‌تواند نگاه ثابتی به تمامِ کلمات داشت و باید بین کلماتی که تغییر تکیه در آن‌ها تفاوت معنایی ایجاد می‌کند (تکیۀ مؤثر) که بیشتر مربوط به نقش تمایزدهنده و صرفی است و سایر کلمات (تکیۀ غیرمؤثر) تفاوت قائل شد و با نگاهی طیفی به ضرورت رعایت تکیه کلمات در موسیقی نگریست.
کلیدواژه‌ها
[English]
Stress considered as a sound factor to highlight one of word’s syllables and also tune as a vocal sound variation is infact plan of stresses. Being supposed an effect of four accent along with pitch, intentsity , metric (place of beat )and agogic (duration) on stress acts in music during this research indicating that stress mostly transferred by pitch accent and pitch time signature is not critical. Appliing note for “relying on” sylluble must be lower from “potential” one, In addition being pitch of other syllables has no influence on meaning transference. Due to the two fundamental of meaning transference and language quality maintenace, poems and music joint resources of stress reflection and tunes in music requierd necessary; but as far as language quality in itself, is a function of speaker’s accent and emotional space not as a constant element, therefore knowing its an essential accordingly just is acceptable in the field of tastes , but meaning transference of words in music although has a significant role but unable to keep cosistant look to all words, and must be descrimination within words resulted in creating of meaning difference by stress variation ( effective stress) – more concerning with distinguishing and morphological role – and the other words ( ineffective stress) and should look need of observance of words stress in music from spectral point of view.
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variation is infact plan of stresses. Being supposed an effect of four accent along with pitch, intentsity , metric (place of beat )and agogic (duration) on stress acts in music during this research indicating that stress mostly transferred by pitch accent and pitch time signature is not critical. Appliing note for “relying on” sylluble must be lower from “potential” one, In addition being pitch of other syllables has no influence on meaning transference. Due to the two fundamental of meaning transference and language quality maintenace, poems and music joint resources of stress reflection and tunes in music requierd necessary; but as far as language quality in itself, is a function of speaker’s accent and emotional space not as a constant element, therefore knowing its an essential accordingly just is acceptable in the field of tastes , but meaning transference of words in music although has a significant role but unable to keep cosistant look to all words, and must be descrimination within words resulted in creating of meaning difference by stress variation ( effective stress) – more concerning with distinguishing and morphological role – and the other words ( ineffective stress) and should look need of observance of words stress in music from spectral point of view.
***
variation is infact plan of stresses. Being supposed an effect of four accent along with pitch, intentsity , metric (place of beat )and agogic (duration) on stress acts in music during this research indicating that stress mostly transferred by pitch accent and pitch time signature is not critical. Appliing note for “relying on” sylluble must be lower from “potential” one, In addition being pitch of other syllables has no influence on