الْإِيقَاعِ فِي القُرآنِ وَأَشْكَأَلَمْ.

The Qur’ānic rhythmicity, represented in the intonations of the music emitted in folds of the Great Qur'ān came as the basis for the passion for recitation and listening pleasure. Although there have been several studies on this subject, the focus of the research has been on rhythmic forms: What they are, their composition, and the effect of their representation in Qur’ānic styles as a kind of renewed vision, understanding, and perception of Qur’ānic discourse. The research, therefore, followed the approach of characterizing these forms and analyzing them by devising the bonds t hat m ade t he r hythm s pread m eaning d ifferently. I t began b y r eferring t o t he r ole o f music provided by the rhythms of the Qur’ānic verses in paying attention to the vocal miracle, next presents the basic types of this rhythm and shows the foundations of this study that support the idea of its presence in the verses, to highlight its role in clarifying the meaning. This study focused on illustrating the forms of rhythm, ranging from the splendid through the rhythm of the suggestive rhythm, and ending with the syllabic rhythm, by describing each form and searching for it between letters, words, structures, and methods. Besides, it pays attention to rhythm's effects and indicates its reflection on meaning. The research has shown that the rhythm makes emotion peak, showing meaning embodied in terms. This embodiment represents the power of performance in demonstrating the exact purpose of speech choices within specific contexts and through various exquisite styles colored in psychological meanings. The importance and objectives of the research Rhythm are directly related to the different connotations it generates. Phonetic formations are activities and interactions between meanings. The sound structure, an essential element in the Holy Qur’ān, is one of the elements that form the rhythm in the structure of the verses of the Qur’ān. Its interaction with other elements contributes to shaping the Qur’ānic discourse with its creative vision and artistic and aesthetic dimensions while showing verbal consistency, collecting homogeneous words, and linking words. Common and synonymous in one sentence is something that avoids the language, and we find it common in the language of the Qur’ān to the maximum extent, to give it a harmonious rhythm distinct from the rhythm of poetry among the Arabs, and this is what attracted them to it and prompted them to pay attention to what it conveyed to them. The research aims to explain the importance of rhythm in the verses of the Holy Qur’ān, in addition to highlighting the relationship between rhythm, meaning, and context in the texts of the Qur’ān, and its role in making this rhythm an element of the Qur’ānic miracle, as it has thus denoted a distinct Qur’ānic rhythm that made it that strange phenomenon that characterizes the Qur’ān in paving his letters and arranging his words in order without every arrangement and system used by people in their speech. Previous studies: The interest in the rhythm of the Qur’ān as part of a whole appeared in their talk about the miraculousness of the Qur’ān according to al-Rumani, al-Khattabi, al-Askari, al- Baqalani, al-Jurjani, al-Sakaki, and al-Zamakhshari, through his interest in the phonetic beauty of the Holy Qur’ān in terms of application, while he was partly independent of the study according to contemporaries. Where Al-Rafi’i saw that this wonderful literary characteristic of the Qur’ānic discourse lies in the elegant rhythm, and he worked on studying the commas and their effects, and Subhi Al-Saleh followed him in studying the internal music of the Qur’ān, and After him, Naim Al-Yafi came to lay down nine rules for the formation of the melody in the music of the Qur’āan, as Bakri Sheikh focused Amin and other scholars on Qur’ānic rhythm, among them Muhammad Abdullah Daraz, and Al-Mubarak. While the study of rhythm in poetry was independent by Kamal Abu Deeb in his book (On the Rhythmic Structure of Arabic Poetry), and Muhammad Al-Ayashi in his book (The Theory of Rhythm in Arabic Poetry). Research methodology and plan: In terms of the fact that the research aimed to shed light on the forms of Qur’ānic rhythm, clarify the relationship between meaning and rhythm, and what rhythm offers to mean in terms of vision, understanding and realization of the Qur’ānic discourse, and making it in papers accessible to anyone who wants, without delving or going too deep and going too far, The approach in this matter is not limitless. The research began with an introduction in which he explained the importance of the research and its objective in addition to the methodology it followed. Then the research was presented in two frameworks: A theoretical framework that spoke briefly about sounds and rhythm in Arabic, in two points. A practical framework in which the rhythmic forms were identified between the rhythmic rhythms of the Budaiya, the rhythmic suggestive, and the rhythmic syllables, and then the Qur’ānic evidence was mentioned on these forms and their branches, with their analysis, and a reference to the conclusions that were reached, then the conclusion. [ABSTRACT FROM AUTHOR]