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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.
 

Keywords: Contemporary Poems, Musical Poems, Internal Music, Phoneme, Poetry of Shamloo

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