Introduction
Khorasan is widely regarded as a cradle of poetry and song, boasting the greatest variety of folk poetry in Iran. According to Zolfaghari, of approximately 370 native Iranian songs, Khorasan accounts for 41 varieties, representing about 14% of all Iranian folk song types. The region’s climatic diversity, coupled with the multiplicity of ethnicities and cultures in Greater Khorasan, as well as its vast geographical expanse, has embedded poetry and song deeply into the cultural fabric of its people. These poems, performed with singing and instrumental accompaniment, not only convey narratives and social stories but also reflect the beliefs and emotions of the local population. The folk songs of South Khorasan, characterized by native imagery and simple language, maintain a profound connection with the everyday lives of the people. They are performed in various ceremonies as integral elements of the region’s cultural identity and have consistently contributed to reinforcing its social and cultural cohesion. This study aims to investigate the role of sound insinuation in the songs of Khorasan’s folk music and its impact on the listener’s consciousness and emotions. The central question of this paper is:
ü  What constitutes the insinuation of sounds in the lyrics of Khorasani folk music according to Maurice Grammont’s theory?
Research Method
This study, grounded in Maurice Grammont’s theory of the “allegory of sounds” examines and analyzes local songs endorsed by South Khorasan Radio and Television. From a total of twenty-nine songs approved by the Poetry, Music, and Song Center of South Khorasan Radio and Television between 2022 and 2024 and registered on the center’s website, ten representative local songs from South Khorasan were selected for detailed examination and analysis. The selected songs were categorized according to vowel types in accordance with Grammont’s classification. Each song was analyzed to explore the relationship between vowels and consonants and the song’s themes, subjects, and the implicit meanings they convey, particularly in evoking emotions and concepts. Grammont’s framework classifies phonemes—both vowels and consonants—to investigate the allegorical function of speech sounds. He categorizes vowels into three types: light, bright, and dark. According to Grammont, bright vowels depict clear sounds, light vowels evoke loud and resonant sounds, and dark vowels suggest vague or incomplete sounds. Consonants are divided into four types: obstruents, nasals, slurs and fricatives, each of which, he argues, elicits specific meanings and emotional responses.
 
Findings
Following Grammont’s theory, the songs were categorized into three groups based on their dominant vowels: bright songs, clear songs, and dark songs. Bright songs predominantly feature bright vowels (a & â), clear songs predominantly contain light vowels (e & i), and dark songs primarily use dark vowels (o & u). Analysis revealed that among the ten songs, six were dominated by bright vowels, two by light vowels, and two by dark vowels. In other words, 60% of the songs featured bright vowels, 20% light vowels, and 20% dark vowels. Bright vowels were generally associated with evoking joy and hope, with songs containing these vowels typically conveying themes of charm, romance, and emotional uplift. Conversely, dark vowels were more closely linked with feelings of sadness and melancholy. Consonantal patterns also played a significant role in shaping the emotional character of the songs. Obstructive consonants appeared in 70% of the songs, creating rhythmic emphasis. When combined with other consonants, obstructives could produce contrasting emotional effects, such as simultaneously evoking joy and sorrow. Flowing consonants (e.g., l, r) paired with obstructives often generated a calming effect, a pattern frequently observed in poems addressing love, loyalty, and nature, thereby fostering intimacy and empathy. Interestingly, the combination of obstructive consonants with nasal consonants (m, n) was observed to induce a sense of peace and satisfaction, which deviates from Grammont’s original theoretical predictions. Overall, the interplay between vowel and consonant patterns significantly contributes to the transmission of thematic meaning, enhancing the expressive power of the songs and reinforcing the intended emotional impact.
 
Conclusion
This research shows that the folk music of South Khorasan employs linguistic elements (both vowels and consonants) to convey specific concepts and emotions. According to Maurice Grammont’s theory, sounds in this region’s music play a significant role in evoking meanings and emotional responses. Bright and clear vowels predominantly instill feelings of joy and hope, whereas dark vowels tend to evoke sadness and introspection. The findings further indicate that the phonetic and semantic structures in South Khorasan’s folk songs function synergistically. These features not only facilitate the communication of the lyrics’ literal meaning but also effectively convey the deeper emotions and thoughts embedded within the text to the audience.