Abstract:
آییکه () نوعی لالایی است که در منطقۀ سیستان به این نام خوانده میشود. آییکه علاوه بر کارکرد لالایی، در گذشته کارکردهای دیگری هم داشته است . یکی از کارکردهای آن این بوده است که برای حیوانات نیز خوانده میشده است . از سوی دیگر، هرگاه خطر حملۀ دشمنان وجود داشته است ، زنان با خواندن آییکه ، دیگران را از وجود دشمن آگاه میکردند. با توجه به اینکه آییکه معمولا برای کودک با آواز خوش خوانده میشود، خوش نوایی و موسیقایی بودن آن ، اهمیت فراوانی دارد. نوشتۀ حاضر به این پرسش اصلی پاسخ میدهد که چه ویژگیهایی را میتوان برای گوش نوازی و خوش نوایی آییکه های سیستانی برشمرد؟ نتیجۀ تحقیق حاکی از کاربرد وزن عروضی، قافیه و ردیف ، انواع تکرار، و موسیقی معنوی، باوجود قواعد منحصربه فرد در آوردن قافیه ، وجود صنعت تکرار به گونه های مختلف تکرار واج ، واژه ، عبارت ، مصراع و... است . تاکنون آییکه های سیستان ، در کتابی مستقل جمع آوری نشده و تنها در کتاب های مختلفی که به فرهنگ عامیانۀ سیستان پرداخته اند، نمونه هایی از آییکه آورده شده است . بنابراین ، در این مقاله از دو روش تحقیقی بهره برده شده است . برخی از آییکه هایی که ١. دانشجوی دکتری زبان و ادبیات فارسی دانشگاه سیستان و بلوچستان ، زاهدان ، ایران (نویسندة مسئول ) Mahmood.shahroodi24@gmail.com ٢. استاد گروه زبان و ادبیات فارسی دانشگاه سیستان و بلوچستان ، زاهدان ، ایران . در آثار مختلف موجود بوده است ، به روش کتابخانه ای گردآوری شده است ، اما بخش زیادی از آییکه های به کاربرده شده در این پژوهش ، به روش میدانی جمع آوری شده است . پس از آن با روش تحلیلی، جنبه های گوناگون موسیقایی و خوش نوایی آییکه توصیف شده است
"â?i:ka" is a lullaby in the region of Sistan. Given that "â?i:ka" is usually sung to the child, its melodiousness and musicality are of great importance, and the present article aims to see what characteristics can be enumerated for the Melodiousness and Euphony of Sistani "â?i:kachr('39')s"? The result of the research shows the use of prosodic rhythm, rhymes, and rows in the song. So far, the "â?i:ka"of Sistan have not been collected in an independent book, and there are only some books that have dealt with the folk culture of Sistan, mentioning some examples of the â?i:ka. In this article, two research methods have been used. Some of the â?i:kachr('39')s that have been present in various works have been collected by the library method, but most of the ”â?i:kachr('39')s” used in this research have been collected through field method. Then, using the analytical method, â?i:kachr('39')s melodiousness and its various aspects of music are described.
Introduction
The history of Sistan under Helmand can be traced back to the ancient history, as the myth of Rostam Dastan emerged as one of the greatest human myths in this land. Yaqoub Laith Sistani made Persian the official language of Iran. Also, new Persian poetry began in Sistan. These are all stories of the official language and poetry of Iran and Sistan, but the Sistani dialect is another case and has its own characteristics.
Research Background
The studies and sources that have dealt with â?i:ka are: Rachr('39')is Al-Dhakerin (1991) in a book titled Kando. Moreover, brief but valuable articles have been written about "â?i:ka" and its work in Sistan. Golestaneh (2007) in the second and fourth volumes of his book gives examples of " â?i:ka " and recounts the contents of â?i:ka in the culture of Sistan. Shirmohammadian and Abedzadeh (1993) in a book titled Allah Janam Allah Ya has collected the divine collections of the three Persian-speaking countries of Iran, Afghanistan, and Tajikistan and examined their content.
Research Problem
The main point of this research is to realize what the diversity of music is in Sistan â?i:kas and what musical difference there is compared to lullabies in particular, and folk songs of other Persian-speaking regions in general. The present study shows that â?i:kas have used various types of musical effects for Melodiousness and Euphony.
Purpose and necessity of research
The purpose of this research is first to collect and then to study and identify â?i:ka and compare it with folk songs of other regions. This study aims to increase the knowledge of folk songs in each region, preserving the rich culture and literature of the past.
Methods
Due to the fact that a small number of â?i:kas are observed scattered in different works, the authors of this study first collect â?i:kas from different regions of Sistan by field method, and then using the analytical method, aims to investigate the data collected from the field studies and library resources.
Findings
"
â?i:ka" and its functional differences with lullabies
â?i:kachr('39')s performance in Sistan is different from what is expected of a lullaby. Among the functions of â?i:ka, the following could be mentioned: When the city was under siege by the enemy, Sistani women conveyed the necessary messages to their men with a loud voice in the form of "â?i:ka" (Rachr('39')is al-Dhakerin, 1991, pp. 76-77). In the past, it was also called for animals (Golestaneh, 2007, p.41).
Also in the past, many love messages or news alerts were spread through â?i:ka. Music, on the other hand, plays an important role in â?i:ka. The people of Sistan have always sung it (Nikokari, 1973, p.13).
Melodiousness and Euphony in the” â?i:ka”
â?i:kachr('39')s Melodiousness and euphony can be examined as follows:
â?i:ka prosodic rhythms: There are three rhythms in â?i:ka. However, they have guessed that these rhythms are not prosodic but syllabic and related to pre-Islamic Iranian civilization (Mahjoub, 2003, p.45). Most of the â?i:kas are in two rhythms. The third rhythm that is most used in folk songs throughout Iran is the rhythm, which is less used in â?i:ka. Considering the phenomenon of traveling folk songs, it seems that most of these â?i:kas have entered the Sistan area from other regions.
Rhyme and row: The â?i:ka form can be called a quatrain or a couplet. "These two are also considered as the original forms of Persian poetry" (Shafichr('39')i Kadkani, 1991, p. 217). Among the â?i:kas, there are cases where each bit has its own rhyme. This species can be considered as Masnavi. On closer inspection, one can consider the rules for rhyme in â?i:ka, for which there are several instances. Many â?i:kas have rows. Sometimes rows are phrases.
Repetition: "One of the signs of the antiquity and originality of these couplets or quatrains is that the third shutter is often a repetition of the contents of the second shutter which prepares the listenerchr('39')s mind to get the result in the fourth shutter” (Bahar, 2535, p. 132). This feature can be seen in many â?i:kas.
Semantic music: The most important arrays that influence the semantic music are:
Proportion: When the native elements are used in â?i:ka and words are mentioned that have a special meaning in the local nature and culture of Sistan, it adds to the effect of the poem.
Hint: Among the religious figures that are often repeated in the lullabies of Sistan, one can note the Prophet of Islam (PBUH), Imam Ali (AS) and his children.
Conclusion
â?i:ka is a kind of lullaby that is common among the people of Sistan. Its format is couplets and quatrains and sometimes two-bit Masnavi-like. In this respect, it is different from the lullabies of other regions. There are three rhythms in â?i:ka that change according to whether they are couplets or quatrains. In addition to rhythm, there are unique rules in â?i:kachr('39')s rhymes that are not found in Persian folk songs. Repetition is a fundamental issue in the aesthetics of art. Repetition in â?i:ka includes repetition of a phoneme, word, phrase or hemistich. A high percentage of â?i:kas, without counting the row, have repetition of a word or phrase that has received special attention due to the importance of repetition in childrenchr('39')s poems. Also, the existence of various verbal and semantic arrays have created the inner and semantic music of â?i:ka.
References
Bahar, M. (1976). Bahar and Persian literature (edited by Mohammad Golban). Ketabhaye Jibi.
Golestaneh, M. (2007). Popular culture (2): literature and folk poetry of the people of Sistan (in Farsi). Orooje Andishe.
Mahjoub, M. (2003). Iranian folk literature (a collection of articles on the myths and customs of the Iranian people) (edited by Hassan Zolfaghari). Cheshmeh.
Nikokari, I. (1973). Nimroz songs (in Farsi). National Center for Anthropological and Popular Culture Research.
Rachr('39')is Al-Dhakerin, Gh. (1991). Kando (in Farsi). Saeed.
Shafiee Kadkani, M. (1991). Poetry music (in Farsi). Agah
Machine summary:
نوشتۀ حاضر به اين پرسش اصلي پاسخ ميدهد که چه ويژگيهايي را ميتوان براي گوش نوازي و خوش نوايي آييکه هاي سيستاني برشمرد؟ نتيجۀ تحقيق حاکي از کاربرد وزن عروضي، قافيه و رديف ، انواع تکرار، و موسيقي معنوي، باوجود قواعد منحصربه فرد در آوردن قافيه ، وجود صنعت تکرار به گونه هاي مختلف تکرار واج ، واژه ، عبارت ، مصراع و...
دستاورد اصلي اين پژوهش ، پاسخ به اين پرسش است که گوناگوني موسيقي در آييکه هاي سيستان چگونه بوده و از نظر 155 موسيقايي چه تفاوتي با لالاييها به طور اخص ، و ترانه هاي عامۀ ديگر مناطق فارسيزبان دارد؟ پژوهش حاضر نشان ميدهد که آييکه ها از انواع گوناگون جلوه هاي موسيقايي براي گوش نوازي و خوش نوايي بهره برده اند.
اين پژوهش بر آن است که شناخت ترانه هاي عامه در هر منطقه ، شناخت ما را از مردم آن ناحيه و شيوه هاي زندگي آن ها و رسوم و آيين هايشان فزوني ميبخشد و از سوي ديگر، موجب حفظ فرهنگ و ادبيات غني گذشته ميشود.
عيسي نيکوکاري (١٣٥٢) در کتاب ترانه هاي نيمروز بخشي از ترانه ها و دوبيتيهاي عامۀ منطقۀ سيستان را گرد آورده است که در ميان آن ها تعدادي آييکه نيز به چشم مي - خورد.
از ديگر تفاوت هاي آييکه با لالايي اين است که خلاف لالاييهاي بيشتر مناطق ايران که معمولا با «لالالالا» آغاز ميشود (داد، ١٣٨٣، ص .
آييکه نوعي لالايي است که در ميان مردم سيستان رواج دارد.
Popular culture (2): literature and folk poetry of the people of Sistan (in Farsi).
(
, 
, 
)
