دور المقطع والنبر في ظواهر الإيقاع الوزني

Abstract

The scrutiny of Al-Khalil bin Ahmed in the interactions of the prosody led him to detail its components to facilitate the learner’s perception and analysis, which facilitates the knowledge of the stress positions on these cross-sections and the explanation of the reasons for not identifying the stress positions in determining the prosodic weights without referring to the sections that represent a single rhythmic pattern, based on the fact that the prosodic nature of sentences is limited in length and does not exceed much of the length of the linguistic word, helped by that stress that saturates a section of the syllables by pressing it so that its musical height, intensity, or range or several of these elements at the same time becomes stronger. Therefore, the prosody resorts to discovering the true limits of the weight-bearing poetry in order to match it with the musical sentence in the rhythm, in order to achieve equality with the musical rhythm, so that the balance of hearing is not disturbed in length and shortness, and stress is one of the means for achieving that auditory balance that leads to musical harmony.