Performance Analysis of Men's 110-m Hurdles using Rhythmic Units

홍성홍,류재균 한국운동역학회 2018 한국운동역학회지 Vol.28 No.2

Objective: This study aimed to create a strategic training method to enhance optimal athletic ability using information from 1H to 10H rhythmic units. Method: Top three world class athletes and three national winners of 110-m hurdle finals from the 2010 Daegu International Athletics Competition and 2017 National Athletics Championship, respectively, were selected. To analyze the kinematic variables, Dartfish 9.0 was used for two-dimensional analysis. Results: Regarding the interval time from the start to the finish line, the national athletes took less time during the pure acceleration phase (start to 1H) than the foreign athletes. The horizontal velocity increase was slower after 1H; the national athletes showed a lack of ability to accelerate at the interval phases. Moreover, the hurdle clearance time between phases was longer in the national athletes than in the foreign athletes and lacked consistency. Conclusion: The national athletes lacked the ability to accelerate at the transition, maximum rhythm, rhythm maintenance, and re-acceleration phases and showed a longer hurdle clearance time. If technical improvements and strategic training methods using rhythmic units are applied for hurdling motions, the national athlete's hurdling abilities, performance, and consistency could improve.

Performance Analysis of Men's 110-m Hurdles using Rhythmic Units

Hong, Sung Hong,Ryu, Jae Kyun Korean Society of Sport Biomechanics 2018 한국운동역학회지 Vol.28 No.2

Objective: This study aimed to create a strategic training method to enhance optimal athletic ability using information from 1H to 10H rhythmic units. Method: Top three world class athletes and three national winners of 110-m hurdle finals from the 2010 Daegu International Athletics Competition and 2017 National Athletics Championship, respectively, were selected. To analyze the kinematic variables, Dartfish 9.0 was used for two-dimensional analysis. Results: Regarding the interval time from the start to the finish line, the national athletes took less time during the pure acceleration phase (start to 1H) than the foreign athletes. The horizontal velocity increase was slower after 1H; the national athletes showed a lack of ability to accelerate at the interval phases. Moreover, the hurdle clearance time between phases was longer in the national athletes than in the foreign athletes and lacked consistency. Conclusion: The national athletes lacked the ability to accelerate at the transition, maximum rhythm, rhythm maintenance, and re-acceleration phases and showed a longer hurdle clearance time. If technical improvements and strategic training methods using rhythmic units are applied for hurdling motions, the national athlete's hurdling abilities, performance, and consistency could improve.

Performance Analysis of Men's 110-m Hurdles using Rhythmic Units

( Sung Hong Hong ),( Jae Kyun Ryu ) 한국운동역학회 2018 한국운동역학회지 Vol.28 No.2

Objective: This study aimed to create a strategic training method to enhance optimal athletic ability using information from 1H to 10H rhythmic units. Method: Top three world class athletes and three national winners of 110-m hurdle finals from the 2010 Daegu International Athletics Competition and 2017 National Athletics Championship, respectively, were selected. To analyze the kinematic variables, Dartfish 9.0 was used for two-dimensional analysis. Results: Regarding the interval time from the start to the finish line, the national athletes took less time during the pure acceleration phase (start to 1H) than the foreign athletes. The horizontal velocity increase was slower after 1H; the national athletes showed a lack of ability to accelerate at the interval phases. Moreover, the hurdle clearance time between phases was longer in the national athletes than in the foreign athletes and lacked consistency. Conclusion: The national athletes lacked the ability to accelerate at the transition, maximum rhythm, rhythm maintenance, and re-acceleration phases and showed a longer hurdle clearance time. If technical improvements and strategic training methods using rhythmic units are applied for hurdling motions, the national athlete's hurdling abilities, performance, and consistency could improve.

الرجز بين القياس والتذوّق قراءة في الموروث العروضيّ والنقديّ

ناطحقدعسأيمركلادبع ( Abdul Kareem Asaad Qahtan ) 한국아랍어아랍문학회 2019 아랍어와 아랍문학 Vol.23 No.1

This research consists of a preface, an introductory chapter, a discussion of the topic along with analysis of its proceedings, evaluation of the results, as well as summary and presentation of the sources and references that the researcher utilized. The preface explores the reasons of conducting this research on Rajaz. In fact, Rajaz, either in its meter or rhyme, has been extensively tackled in many discussions in the ancient and modern monetary heritage. These discussions were concerned with much of its traits such as the reason of naming it like so, its structure, its position with regard to the chronological arrangement of the other measures of Arabic poetry, its relation to both concepts of al-Qareed (poetry) and Qaseed (poem), as well as the aesthetical value of Rajaz poetry compared to the poetry of other meters. These discussions, however, are reviewable in terms of their content and results. That is why this research is valuable and significant. The introductory chapter reviews the concepts, terms and mechanisms to be adopted in this research justifying their usability and validity in achieving the convincing results. Tackling this topic and analyzing its proceedings, the researcher began with discussing the meaning of Rajaz literally and technically, its relation to the meaning of al-Qareed (poetry) and al-Qaseed (poem), as well as discussing the rhythmic structure of Rajaz in the various stages of the Arabic poetry rhetoric improvement. The researcher discussed also the critics’ perceptions about the aesthetical value of Rajaz poetry and evaluated this value in light of the prevailing poetic rhetoric and in its transformations along the historical course. He then ended up with a result that Rajaz is like the first meter in the history of the Arabic-poetic rhythm; the origin from which the other poetic meters in all stages of the Arabic poetry were derived. The notion of al-Qareed (poetry), that was used in a later stage of the improvement of Rajaz, was related to the structure of the two-hemistich line (of poetry), either in Rajaz or other meters that developed thereafter, as it was a measure to the first structure of Rajaz embodied in the two-hemistich line, while the notion of al-Qaseed was related to the form that may represent the notion of the poem. However, the difference of the level of its impact in old and modern times is explained according to its structure compared to the other meters and its relation with the functions of the rhythm in the poetic rhetoric. The functions of the poetic rhythm are determined by warble, tension and expressing the meaning. These are interrelated functions, though each of them has its measurable limitations imposed by the prevailing rhetoric, and it seems to be a dominant function over the other functions. There are two kinds of eloquence that dominated the rhetoric of the Arabic poetry, namely: Oral Eloquence, which prevailed in the old and traditional poetry and Written Eloquence, which prevailed in modern poetry. Between these two kinds, the Romantic Poetry represents a midway or a transition between these two distinctive stages of the development of the Arabic poetic rhetoric. When it comes to Oral Eloquence, the positive value of the poem was to be determined by its ability to achieve quick and immediate aesthetic response by the recipients. That is why Oral Eloquence requires taking care of the sound to the greatest degree; and therefore, the function of musicality dominated. Rajaz poetry is the poorest meter to achieve this function. That is because it is a simple meter that is built on the repetition of a single rhythmic unit that is not composed with another unit(s). This made the highly-cohesive compound meters- on the top of which is al-Taweel meter- clearly dominant. When the dominance was assumed by the Written Eloquence that necessitates the poem to take intensive care of the meaning, as the structure of the line and the hemistiches was overstepped therein to the structure of the foot (of a verse meter). This was made at the expense of taking care of the function of musicality. Thereupon, Rajaz had its considerable impact like the other meters that depend on the repetition of a single or a simple compound unit.

CSL를 이용한 한국인의 프랑스어 운율학습 방안

이은영,이문규,이정현,Lee, E.Y.,Lee, M.K.,Lee, J.H. 한국음성학회 1999 음성과학 Vol.6 No.1

The aim of this study is to provide a learning method of prosodic rhythm for Taegu North Kyungsang Korean speakers to learn French rhythm more effectively. The rhythmic properties of spoken French and Taegu North Kyungsang Korean dialect are different from each other. Therefore, we try to provide a basic rhythmic model of the two languages by dividing into three parts: syllable, rhythmic unit and accent, and intonation. To do so, we recorded French of Taegu Kyungsang Korean speakers, and then analysed and compared the rhythmic properties of Korean and French by spectrograph. We tried to find rhythmic mistakes in their French pronunciation, and then established a learning model to modify them. After training with the CSL Macro learning model, we observed the output result. However, although learners understand the method we have proposed, an effective method which is possible by repeating practice must be arranged to be actually used in direct verbal communications in a well-developed learning programme. Hence, this study may play an important role at the level of preparation in the setting of an effective rhythmic learning programme.

ﺍﻟﺮﺟﺰ ﺑﲔ ﺍﻟﻘﻴﺎﺱ ﻭﺍﻟﺘﺬﻭ ﻕﻗﺮﺍءﺓ ﰲ ﺍﳌﻮﺭﻭ&

ﻋ,ﺒ,ﺪ,ﺍ,ﻟ,ﻜ,ﺮ,ﱘ,ﺃ,ﺳ,ﻌ,ﺪ,ﻗ,ﺤ,ﻄ,ﺎ,ﻥ,* 한국아랍어아랍문학회 2019 아랍어와 아랍문학 Vol.23 No.1

This research consists of a preface, an introductory chapter, a discussion of the topic along with analysis of its proceedings, evaluation of the results, as well as summary and presentation of the sources and references that the researcher utilized. The preface explores the reasons of conducting this research on Rajaz. In fact, Rajaz, either in its meter or rhyme, has been extensively tackled in many discussions in the ancient and modern monetary heritage. These discussions were concerned with much of its traits such as the reason of naming it like so, its structure, its position with regard to the chronological arrangement of the other measures of Arabic poetry, its relation to both concepts of al-Qareed (poetry) and Qaseed (poem), as well as the aesthetical value of Rajaz poetry compared to the poetry of other meters.These discussions, however, are reviewable in terms of their content and results. That is why this research is valuable and significant. The introductory chapter reviews the concepts, terms and mechanisms to be adopted in this research justifying their usability and validity in achieving the convincing results. Tackling this topic and analyzing its proceedings, the researcher began with discussing the meaning of Rajaz literally and technically, its relation to the meaning of al-Qareed (poetry) and al-Qaseed (poem), as well as discussing the rhythmic structure of Rajaz in the various stages of the Arabic poetry rhetoric improvement. The researcher discussed also the critics’ perceptions about the aesthetical value of Rajaz poetry and evaluated this value in light of the prevailing poetic rhetoric and in its transformations along the historical course. He then ended up with a result that Rajaz is like the first meter in the history of the Arabic-poetic rhythm; the origin from which the other poetic meters in all stages of the Arabic poetry were derived. The notion of al-Qareed (poetry), that was used in a later stage of the improvement of Rajaz, was related to the structure of the two-hemistich line (of poetry), either in Rajaz or other meters that developed thereafter, as it was a measure to the first structure of Rajaz embodied in the twohemistich line, while the notion of al-Qaseed was related to the form that may represent the notion of the poem. However, the difference of the level of its impact in old and modern times is explained according to its structure compared to the other meters and its relation with the functions of the rhythm in the poetic rhetoric. The functions of the poetic rhythm are determined by warble, tension and expressing the meaning. These are interrelated functions, though each of them has its measurable limitations imposed by the prevailing rhetoric, and it seems to be a dominant function over the other functions. There are two kinds of eloquence that dominated the rhetoric of the Arabic poetry, namely: Oral Eloquence, which prevailed in the old and traditional poetry and Written Eloquence, which prevailed in modern poetry. Between these two kinds, the Romantic Poetry represents a midway or a transition between these two distinctive stages of the development of the Arabic poetic rhetoric. When it comes to Oral Eloquence, the positive value of the poem was to be determined by its ability to achieve quick and immediate aesthetic response by the recipients. That is why Oral Eloquence requires taking care of the sound to the greatest degree; and therefore, the function of musicality dominated. Rajaz poetry is the poorest meter to achieve this function. That is because it is a simple meter that is built on the repetition of a single rhythmic unit that is not composed with another unit(s). This made the highly-cohesive compound meters- on the top of which is al-Taweel meter- clearly dominant. When the dominance was assumed by the Written Eloquence that necessitates the poem to take intensive care of the meaning, as the structure of the line and the hemistiches was overstepped

최옥삼의 무용음악에 관하여 -사도성의 이야기 중에서-

김해숙 ( Hae Sook Kim ) 한국음악사학회 2014 한국음악사학보 Vol.52 No.-

<사도성의 이야기>는 최승희가 안무와 대본을 맡고 최옥삼이 곡을 쓴 북한 무용극으로, 1954년 평양 모란성 극장에서 초연된 뒤, 1956년 정준채의 연출로 영화화된 작품이다.본 글에서는 그간 문헌의 기록만으로는 춤음악의 실재를 알기 어려웠던 한계를 극복하기 위한 한 방편으로 춤과 반주음악의 생생한 기록이 담긴 위 작품을 대상으로 하여 최옥삼이 작곡한 반주음악을 채보 분석 연구하였다. 이는 직접적으로는 가야금산조의 명인으로 알려져 있는 최옥삼의 음악세계를 춤 반주음악을 통해서 살펴보는 일이면서, 간접적으로는 20세기 중반 최승희의 춤과 음악의 실재를 알 수 있는 결과이기도 하다. 또 최옥삼은 한국 전통예술사의 흐름에서 볼 때 도제제도 내에서 성장한 명인이어서 이 결과는 그가 체득한 전통예술의 특징은 물론 변용방식 등을 살펴볼 수 있는 기회가 되기도 하며, 실재를 재현하거나 미래 한국 춤 반주음악의 참고자료로도 활용해 볼 수 있다. 그 결과를 요약하면 다음과 같다. 1. 본 춤에는 긴염불, 도드리, 진양조 등 6박 장단, 중중모리나 타령, 자진모리 등 4박 장단 그리고 엇모리장단들을 활용하였는데, 전체적으로는 템포가 다른 6박 장단이 기조를 이루고 있다고 하겠다. 오늘날 굿이나 춤 반주를 비롯한 한국 전통음악에 불규칙하고 다양한 박자 단위의 장단들이 활용되는 양상에 비하면 매우 규칙적이고 단순한 박자 단위들이 활용되고 있는 편인데, 이는 무용극의 주제적 강조나 대중적 이해에는 더 쉬운 방법이 될 것으로 본다. 2. 음구조에서는 ‘솔라도레미’의 음계가 기조를 이루고 있으나, ‘미솔라시도레미’의 계면길 음구조도 본청을 바꾸어 활용되고 있다. 특히 본 극에서는 계면길의 반음하향진행을 슬픔의 악상보다는 긴장감을 주는 기법으로 활용한 점이 주목되는데, 이는 20세기 남한의 판소리나 산조 등이 계면조 또는 계면길 위주의 전승경향을 보이고 있는 점과 차이가 있다. 3. 장면마다의 선율진행은 ABA나 ABAB`` 또는 ABCBA 등으로 구분되어 그리 복잡하지 않은 선율 짜임새를 보이며, 시조창이나 판소리, 민요, 가야금산조의 선율진행 투, 산조의 연주기법 등이 활용되고 있어서 최옥삼이 체득한 한국 전통음악의 면면을 간접적으로 알 수 있다. 4. 최옥삼은 그간 단순히 가야금 산조를 전해준 명인이라기보다는 작곡자로서도 주목되었었는데, 본 연구에서 이를 다시 확인함과 동시에 전통의 창조적 계승의 실재를 드러내는 계기가 되었다. By transcribing and analyzing the dance accompaniment that Ch``oi Ok-sam composed for the film <A Story of Sado Castle> which was choreographed by Ch``oi Sung-hui, this study serves as an opportunity to look deeper not only into his music for dance, but his oeuvre. The results of this study are as follows: 1. Rhythmic PatternCh``oi makes use of popular rhythmic patterns used in such genres as p``ansori, sanjo, and taep``ungnyu, which include six-beat cycles, such as kin yombul, toduri, and chinyangjo, and four-beat cycles, such as chungjungmori, chajinmori, and hwimori. He also uses the pattern of onmori. With the exception of onmori, these are all evenly structured cycles, and are played over the same duration, following the pattern of traditional Korean music by moving from slow to medium, and then to a fast tempo. 2. Melodic StructureAlthough a pentatonic scale consisting of sol, la, do, re, and mi is the main scale, the kyemyon’gil scale made up of mi, sol, la, si, do, re, and mi with a semitone is also used as the main tone modulates. It is of particular note that the kyemyon’gil scale is used in the climax because the downward semitone is assumed to create tension rather than denoting sadness. 3. InstrumentationThe female protagonist corresponds to the kayagum while the male protagonist corresponds to the tanso. In addition, p``iri and t``aep``yongso are also used. The kayagum borrows a variety of techniques and melodies from sanjo: for example melodies from chajinmori and hwimori when tension is heightened or reaches its climax. Melodies played on the tanso are calm and peaceful, while those of the p``iri and t``aepyongso express energetic passion. 4. FormMelodies for scenes are in forms like A-B-A, A-B-A-B′, and A-B-C-B-A, which demonstrates that Ch``oi deploys carefully structured and logical melodies rather than improvising, as was revealed in his kayagum sanjo. As the above analysis shows, Ch``oi’s musical accompaniment holds fast to the traditional language of Korean music in that it makes active reference to the tonal structures, rhythmic patterns, and characteristic melodies of such popular genres as p``ansori and sanjo, as well as including vocal sections in the styles of sijo, p``ansori, and folk song. I expect that this study will be used to restructure the original form of the dance drama, and that it will contribute to the development of new dance dramas.

최옥삼의 무용음악에 관하여 -사도성의 이야기 중에서-

김해숙 한국음악사학회 2014 한국음악사학보 Vol.52 No.-

By transcribing and analyzing the dance accompaniment that Ch'oi Ok-sam composed for the film <A Story of Sado Castle> which was choreographed by Ch'oi Sŭng-hŭi, this study serves as an opportunity to look deeper not only into his music for dance, but his oeuvre. The results of this study are as follows: 1. Rhythmic PatternCh'oi makes use of popular rhythmic patterns used in such genres as p'ansori, sanjo, and taep'ungnyu, which include six-beat cycles, such as kin yŏmbul, todŭri, and chinyangjo, and four-beat cycles, such as chungjungmori, chajinmori, and hwimori. He also uses the pattern of ŏnmori. With the exception of ŏnmori, these are all evenly structured cycles, and are played over the same duration, following the pattern of traditional Korean music by moving from slow to medium, and then to a fast tempo. 2. Melodic StructureAlthough a pentatonic scale consisting of sol, la, do, re, and mi is the main scale, the kyemyŏn’gil scale made up of mi, sol, la, si, do, re, and mi with a semitone is also used as the main tone modulates. It is of particular note that the kyemyŏn’gil scale is used in the climax because the downward semitone is assumed to create tension rather than denoting sadness. 3. InstrumentationThe female protagonist corresponds to the kayagŭm while the male protagonist corresponds to the tanso. In addition, p'iri and t'aep'yŏngso are also used. The kayagŭm borrows a variety of techniques and melodies from sanjo: for example melodies from chajinmori and hwimori when tension is heightened or reaches its climax. Melodies played on the tanso are calm and peaceful, while those of the p'iri and t'aepyŏngso express energetic passion. 4. FormMelodies for scenes are in forms like A–B–A, A–B–A–B′, and A–B–C–B–A, which demonstrates that Ch'oi deploys carefully structured and logical melodies rather than improvising, as was revealed in his kayagŭm sanjo. As the above analysis shows, Ch'oi’s musical accompaniment holds fast to the traditional language of Korean music in that it makes active reference to the tonal structures, rhythmic patterns, and characteristic melodies of such popular genres as p'ansori and sanjo, as well as including vocal sections in the styles of sijo, p'ansori, and folk song. I expect that this study will be used to restructure the original form of the dance drama, and that it will contribute to the development of new dance dramas. <사도성의 이야기>는 최승희가 안무와 대본을 맡고 최옥삼이 곡을 쓴 북한 무용극으로, 1954년 평양 모란성 극장에서 초연된 뒤, 1956년 정준채의 연출로 영화화된 작품이다. 본 글에서는 그간 문헌의 기록만으로는 춤음악의 실재를 알기 어려웠던 한계를 극복하기 위한 한 방편으로 춤과 반주음악의 생생한 기록이 담긴 위 작품을 대상으로 하여 최옥삼이 작곡한 반주음악을 채보 분석 연구하였다. 이는 직접적으로는 가야금산조의 명인으로 알려져 있는 최옥삼의 음악세계를 춤 반주음악을 통해서 살펴보는 일이면서, 간접적으로는 20세기 중반 최승희의 춤과 음악의 실재를 알 수 있는 결과이기도 하다. 또 최옥삼은 한국 전통예술사의 흐름에서 볼 때 도제제도 내에서 성장한 명인이어서 이 결과는 그가 체득한 전통예술의 특징은 물론 변용방식 등을 살펴볼 수 있는 기회가 되기도 하며, 실재를 재현하거나 미래 한국 춤 반주음악의 참고자료로도 활용해 볼 수 있다. 그 결과를 요약하면 다음과 같다. 1. 본 춤에는 긴염불, 도드리, 진양조 등 6박 장단, 중중모리나 타령, 자진모리 등 4박 장단 그리고 엇모리장단들을 활용하였는데, 전체적으로는 템포가 다른 6박 장단이 기조를 이루고 있다고 하겠다. 오늘날 굿이나 춤 반주를 비롯한 한국 전통음악에 불규칙하고 다양한 박자 단위의 장단들이 활용되는 양상에 비하면 매우 규칙적이고 단순한 박자 단위들이 활용되고 있는 편인데, 이는 무용극의 주제적 강조나 대중적 이해에는 더 쉬운 방법이 될 것으로 본다. 2. 음구조에서는 ‘솔라도레미’의 음계가 기조를 이루고 있으나, ‘미솔라시도레미’의 계면길 음구조도 본청을 바꾸어 활용되고 있다. 특히 본 극에서는 계면길의 반음하향진행을 슬픔의 악상보다는 긴장감을 주는 기법으로 활용한 점이 주목되는데, 이는 20세기 남한의 판소리나 산조 등이 계면조 또는 계면길 위주의 전승경향을 보이고 있는 점과 차이가 있다. 3. 장면마다의 선율진행은 ABA나 ABAB' 또는 ABCBA 등으로 구분되어 그리 복잡하지 않은 선율 짜임새를 보이며, 시조창이나 판소리, 민요, 가야금산조의 선율진행 투, 산조의 연주기법 등이 활용되고 있어서 최옥삼이 체득한 한국 전통음악의 면면을 간접적으로 알 수 있다. 4. 최옥삼은 그간 단순히 가야금 산조를 전해준 명인이라기보다는 작곡자로서도 주목되었었는데, 본 연구에서 이를 다시 확인함과 동시에 전통의 창조적 계승의 실재를 드러내는 계기가 되었다.

Rajaz poetic meter: a canonical and receptive point of view

압둘카림 아사드 카흐탄 한국아랍어아랍문학회 2019 아랍어와 아랍문학 Vol.23 No.1

This research consists of a preface, an introductory chapter, a discussion of the topic along with analysis of its proceedings, evaluation of the results, as well as summary and presentation of the sources and references that the researcher utilized. The preface explores the reasons of conducting this research on Rajaz. In fact, Rajaz, either in its meter or rhyme, has been extensively tackled in many discussions in the ancient and modern monetary heritage. These discussions were concerned with much of its traits such as the reason of naming it like so, its structure, its position with regard to the chronological arrangement of the other measures of Arabic poetry, its relation to both concepts of al-Qareed (poetry) and Qaseed (poem), as well as the aesthetical value of Rajaz poetry compared to the poetry of other meters.These discussions, however, are reviewable in terms of their content and results. That is why this research is valuable and significant. The introductory chapter reviews the concepts, terms and mechanisms to be adopted in this research justifying their usability and validity in achieving the convincing results. Tackling this topic and analyzing its proceedings, the researcher began with discussing the meaning of Rajaz literally and technically, its relation to the meaning of al-Qareed (poetry) and al-Qaseed (poem), as well as discussing the rhythmic structure of Rajaz in the various stages of the Arabic poetry rhetoric improvement. The researcher discussed also the critics’ perceptions about the aesthetical value of Rajaz poetry and evaluated this value in light of the prevailing poetic rhetoric and in its transformations along the historical course. He then ended up with a result that Rajaz is like the first meter in the history of the Arabic-poetic rhythm; the origin from which the other poetic meters in all stages of the Arabic poetry were derived. The notion of al-Qareed (poetry), that was used in a later stage of the improvement of Rajaz, was related to the structure of the two-hemistich line (of poetry), either in Rajaz or other meters that developed thereafter, as it was a measure to the first structure of Rajaz embodied in the two-hemistich line, while the notion of al-Qaseed was related to the form that may represent the notion of the poem. However, the difference of the level of its impact in old and modern times is explained according to its structure compared to the other meters and its relation with the functions of the rhythm in the poetic rhetoric. The functions of the poetic rhythm are determined by warble, tension and expressing the meaning. These are interrelated functions, though each of them has its measurable limitations imposed by the prevailing rhetoric, and it seems to be a dominant function over the other functions. There are two kinds of eloquence that dominated the rhetoric of the Arabic poetry, namely: Oral Eloquence, which prevailed in the old and traditional poetry and Written Eloquence, which prevailed in modern poetry. Between these two kinds, the Romantic Poetry represents a midway or a transition between these two distinctive stages of the development of the Arabic poetic rhetoric. When it comes to Oral Eloquence, the positive value of the poem was to be determined by its ability to achieve quick and immediate aesthetic response by the recipients. That is why Oral Eloquence requires taking care of the sound to the greatest degree; and therefore, the function of musicality dominated. Rajaz poetry is the poorest meter to achieve this function. That is because it is a simple meter that is built on the repetition of a single rhythmic unit that is not composed with another unit(s). This made the highly-cohesive compound meters- on the top of which is al-Taweel meter- clearly dominant. When the dominance was assumed by the Written Eloquence that necessitates the poem to take intensive care of the meaning, as the structure of the line and the hemistiches was overstepped the... أن الرجز مثل الوزن الأول الذي نشأت منه الأوزان الأخرى في خطاب الشعر العربي. وهو وزن يقوم على تكرار الوحدة الرباعية مفردة غير مركبة مع غيرها من الوحدات، وقد كانت بدايته في صورة أشطار مقفاة ، وهذا ما ميزه عن القريض الذي مثل مرحلة لاحقة من مراحل تطور النظم الشعري بمستوى خطاب الشعر العربي، وفيه تجسد النظم في صورة أبيات بشطرتين، أكان من الرجز أو غيره من الأوزان الشعرية . وسمي القريض قصيدا بعد أن استوى النظم بأبيات تامة وعدد معلوم من الأبيات يمثل القصيدة . أما اختلاف حضور الرجز على المسار الزمني فكان بسبب تطور الخطاب الشعري ومن ثم وظائف الإيقاع فيه. ففي واقع بلاغة المشافهة كانت القيمة الإيجابيّة للقصيدة ، تتحدّد من خلال قدرتها على تحقيق استجابة جماليّة سريعة ومباشرة من المتلقّين ، وهذا ما استدعى منها العناية بالصوت إلى أقصى حد، أي أن الهيمنة - هنا - كانت للوظيفة الإطرابية على حساب وظيفة التعبير عن المعنى أو الإيحاء بالمعنى . ومن ثم كانت للأوزان المركبة العالية التناسب الهيمنة الواضحة في مقابل تخلف الرجز والأوزان الساذجة الأخرى ، فلما صارت الهيمنة لبلاغة الكتابة التي تستدعي من القصيدة العناية الفائقة بالمعنى، وهذا على حساب تراجع الوظيفة الإطرابية؛ حيث تم معها تجاوز بنية البيت والشطر إلى بنية التفعيلة والسطر ، نال الرجز حضوره اللافت أسوة بالأوزان الأخرى التي تعتمد على تكرار وحدة مفردة أو مركبة بسيطة.

The Arabic Poetic Rhythm from the classic line to the modern: Prosodical study

( Abd Al-karim Asad Kahtan ) 한국아랍어아랍문학회 2018 아랍어와 아랍문학 Vol.22 No.2

The research consists of an introduction that includes a brief definition of poetic rhythm and its forms and defines prosody as a system of syllables in the speech movement. It is also a system that is based on different syllables and their suitability and repetition in the poetic line as well as the qasiad (poem). The research also reviewed the development of prosodic structure within the requirement of the development of the Arab poetic discourse. This development occurred via three forms that each form prevailed a certain stage of the stages of the Arab poetic discourse. The first form is the stiff or static form that was materialized by the single metre and monorhymed qasiad (poem). Then, the diversified form that was materialized by the romantic qasiad (pem) characterized by diversification of poetic line, metre and rhyme. The final one is the dynamic form materialized by the modern qasiad (peom) that is based on the poetic line that does not abide by a certain engineering of phonetic structure, semantic structure or visual structure. The research also reviewed the aesthetic impact of prosody through three functions: the function of tension that is based on the principle of contradiction between phonetic structure and semantic structure. The function of (Music disorder) that is based on the suitability of phonetic structure and its repetition. Finally, the function of expression that is based on diversifying prosodic structure according to the requirements of the semantic structure. The research conclusion confirmed that prosodic structure was not stiff or static but evolved within the development of the Arab poetic discourse.