دراسة مقارنة لمظاهر الموسيقي المعنوية في مقامات الحريري و السرقسطي : دراسة مقامة البصرية و الطريفية

Abstract EN

Undoubtedly, to understand and analyze a literary work, it is important to know the musical aspects of that work, and one of the important and effective elements in creating the beauty of a literary text is the fluent and pleasant music of that literary work.

Music elevates speech and has been associated with poetry and prose from the beginning, so that it can be claimed that the first factor in the resurrection of words and the wonder of man is the musical dimension of words.

This use of word music has a high frequency in poetry and the technical prose of the Maqamat is a clear example of the expression of word music in Arabic literature, too.

The art of the Maqamat pays the most attention to the melody and sound section, and this goes back to the structure and literary type of the Maqamat, which each line is full of pleasant and innovative rhythms.

One of the most important and practical types of music is its spiritual type, just as balance, coherence, order and similarities and contrasts using the vocal arts creates music sounds, these same symmetries and similarities and contradictions, using the spiritual innovative figures of speech Which is related to the semantic and mental realm, causes spiritual music.

As mentioned, its components are part of innovative figures of speech such as paradox, implication, symmetry, etc.

Qasim Ibn Ali Hariri’s Hariri Maqamat is an educational book written in fifty maqams on ornateness.

In each Maqameh, the author, according to the subject of that Maqameh, has used innovative actions with ornateness, which has paid more attention to the rime and synonymy of words, and He speaks of the inductive power of his prose language.

Sarqosti is another prominent Andalusian maqam writer who, under the influence of Hariri, included fifty maqams in his Maqamat and music is an integral element of it.

In the present study, the researcher has examined Hariri’s "Al-Basariyeh" maqameh and Sarqosti’s "Tarifiyeh" maqameh in terms of explaining the effects of spiritual music.