Introduction

 Pahlaviyat was a common poetic-musical genre during the Sasanian era that narrated the conditions and times of the Iranian people with two verses in a special metric and with themes taken from the events of the society. After the arrival of Islam, their metric of the gradually changed. It came in the form of Bahr Hazaj Mesadas Mahzouf/Maqsoor and remained a Dobeyti or Taraneh in a significant portion of Iranian ethnic's music. Some of these songs were able to gradually enter the Dastgahi music system. Avaz Dashti was formed in large part by a number of Avaz_ha_i Dobeyti that were included in the Dastgah Shur. Mirza Abdollah Farahani separated some songs from among the Dastgah_ha he had learned, gave them relative independence, and added modal's Gusheh_ha_i that were in harmony with it while compiling  Radif of iranian music (Khzarai, 2017: 92). Khaleghi portrays Dashti melody as follows: “ Sad, painful, and sad, but tender and delicate at the same time” (1341: 167). It seems that due to some characteristics, Dobeyti metric is more appropriate than other metrics with the latent state in the Dashti mode; As Forsatod doleye Shirazi says in Buhurol al_han: "It can be said that a certain poem's metric  is more suitable for a certain song " (1400: 20). All the poems that he suggests for Avaz Dashti are based on  Dobeyti metric. Moreover, Abdol Qader Maraqi says:  "If someone wants to make people cry, he should make a set of songs whose effect on souls is sadness because each set of songs has a kind of effect on the emotions" (1388: 420). in this article, while examining the development and evolution of Pahlaviyat metric, the relationship between these metrics and the metric of the Gusheh_ha_i of Avaz Dashti has been determned and it has been tried to answer the main question of this article, what is the origin and logic of the abundant presence of Dobeyti metric in the Avaz Dashti. Methodology

 The exploration methodology in this article is descriptive-analytical , and In order to accurately determine the frequency of couplet metric in the radif and songs of Iranian classical music, part of the information obtained in this article is based on statistical studies in the corners of seven Dastgah and five Avaz from numerous narrations of the Radif and also in the selected poems of the songs of Mohammad Reza Shajarian. the abundance of Dobeyti metric in four Radifs, including two vocal Radifs by "Abdullah Davami" and "Mahmoud Karimi" and two Radifs by "Saba" and "Mirza Abdullah," as well as in selected poems of Mohammad Reza Shajarian's songs In 39 albums published between 1359 and 1382, was examined. Babak Khazarai determined the metric of all the Gusheh_ha_i in the aforementioned Radifs in two separate Mahoor Music Quarterly articles, and "Hasan Ali Mohammadi" determined the Bahr of Shajarian's songs in the sixth chapter of the book "Hezar Golkhaneh Avaz." is (Refer to sources).

Discussion and Results

 Experts have argued a great deal about Pahlavis and their transformation into Dobeyti, as well as their outcomes; Bahar's opinion is: “The metric of Fahlaviat was not derived from the Arab Bahr and existed in this country before the arrival of the Arabs to Iran, but the Persian poems were syllabic and not prosaic and fragmentary, and the stanzas of Dobeyti_ha_i were not like today, which we call Bahr Hazaj Masads" (1310: 40). "Mar" is a professor who believes: “The metric of Fahlaviyat is less evolved contrasted with the metric of  Hazaj Masads Mahzoof, and consequently, it is a lot more established than it” (Ismailpour, 1377:30). The two metric of hazj and moshakel appear together in every old prosodic Pahlavis four stanzas, and the use of Maf’ulaton elements gradually decreases; The metric of Moshakel is most prominent in the third and fourth stanzas, while the metric of hazaj is present in all four (Tabibzadeh, 1392: 76), and the Pahlaviyat structure only contains the hazaj metric in the evolved form. The Dobeyti_ha_i do not contain any unusual similes, irony, illusions, other crafts, spiritual issues, or combinations derived from the Arabic language and The Dobeyti_ha_i's wording and meaning are completely straightforward (Panahi Semnani, 2013:61). Additionally, it is also stated in Qaboosnameh: “Among the metrics, there is no metric more sensitive than the metric of a taraneh” (onsorol Ma'ali, 1342: 141).

Various local songs in metric Dobeyti had the option to enter the instrumental music framework and some of them assumed a significant part in the development of Dashti tunes during the forming of five Avaz.

Conclusion

The consequences of the measurable examinations in this article show that 96.75% of the metric of the Gusheh_ha_i in Avaz Dashti the concentrated on vocal and instrumental Radif is in Dobeyti metric. Additionally, in the studied albums, 69.23 percent of the selected poems in the Avaz Dashti performed by Shajarian are in Dobeyti metric. in the vocal Radif, due to the close relationship between music and poetry, the metric of the poems affects the metric of the music, and the metric of the Dobeyti is clearly recognizable in the Gusheh_ha_i of the Dashti. However, in the instrumental Radif where the Gusheh_ha_i are not necessarily associated with the poetry and the songs have more independence, the number and order of the elements of "Mafa’ilon" and "mufa'il" are different in the beginning and middle parts of the Gusheh_ha_i Avaz Dashti, but in the final parts of the Gusheh You can clearly recognize the metric of the Dobeity. (cf. Mirza Abdallah's radif with transliteration Talayi, 1383). The results of the statistical analysis carried out in this article show that the metric of the Dobeiyti is the result of gradual changes in the metric of the Pahlaviyat and it seems that there are special features in the structure of the metric of the Avaz_ha_i Dobeyti, which is the reason for the continuity and success of this type among Iranians, not only in the poems of the ethnic songs. which is also included in Persian classical poetry and today it is in a place between popular and official culture and literature and in the most frequent Radif of this metric it is related to the Avaz Dashti. Also, if you carefully look at the names of the Gusheh_ha_I Avaz Dashti, you can find out their origin, which is derived from the Avaz_ha_i Dobeyti of the folk music of Iran.

Keywords: Pahlaviyat, Dobeyti, Avaz Dashti, metric, Bahr Hazaj, Radif of Iranian music

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