{"id":5024,"date":"2019-03-08T23:08:04","date_gmt":"2019-03-08T19:38:04","guid":{"rendered":"https:\/\/specialexplorer.com\/?p=5024"},"modified":"2019-03-08T23:11:35","modified_gmt":"2019-03-08T19:41:35","slug":"iranian-music","status":"publish","type":"post","link":"https:\/\/specialexplorer.com\/?p=5024","title":{"rendered":"Iranian music"},"content":{"rendered":"

The\u00a0music of Iran\u00a0encompasses\u00a0<\/strong>music<\/strong>\u00a0that is produced by\u00a0<\/strong>Iranian<\/strong>\u00a0artists. In addition to the traditional\u00a0<\/strong>folk<\/strong>\u00a0and\u00a0<\/strong>classical<\/strong>\u00a0<\/strong>genres<\/strong>, it also includes\u00a0<\/strong>pop<\/strong>\u00a0and internationally-celebrated styles such as\u00a0<\/strong>jazz<\/strong>,\u00a0<\/strong>rock<\/strong>, and\u00a0<\/strong>hip hop<\/strong>.<\/strong><\/p>\n

Iranian music influenced other cultures in West Asia, building up much of the musical terminology of the neighboring Turkic and Arabic cultures, and reached India through the 16th-century\u00a0Persianate\u00a0<\/strong>Mughal Empire<\/strong>, whose court promoted new musical forms by bringing Iranian musicians. <\/strong><\/p>\n

Earliest records:<\/strong><\/p>\n

Music in Iran, as evidenced by the “pre-Iranian” archaeological records of\u00a0<\/strong>Elam<\/strong>, the oldest civilization in southwestern Iran, dates back thousands of years. Iran is apparently the birthplace of the earliest complex instruments, which date back to the third millennium BC. A number of\u00a0<\/strong>trumpets<\/strong>\u00a0made of silver, gold, and copper were found in eastern Iran that are attributed to the\u00a0<\/strong>Oxus civilization<\/strong>\u00a0and date back between 2200 and 1750 BC. The use of both vertical and horizontal angular\u00a0<\/strong>harps<\/strong>\u00a0have been documented at the archaeological sites of Madaktu (650 BC) and\u00a0Kul-e Fara\u00a0(900\u2013600 BC), with the largest collection of Elamite instruments documented at Kul-e Fara. Multiple depictions of horizontal harps were also sculpted in\u00a0<\/strong>Assyrian<\/strong>\u00a0palaces, dating back between 865 and 650 BC. <\/strong><\/p>\n

Classical antiquity:<\/strong><\/p>\n

Sassanid music<\/strong><\/p>\n

Karna<\/strong>, an ancient Iranian musical instrument from the 6th century BC, kept at the Persepolis Museum.<\/strong><\/p>\n

Not much is known on the music scene of the classical Iranian empires of the\u00a0<\/strong>Medes<\/strong>, the\u00a0Achaemenids, and the\u00a0<\/strong>Parthians<\/strong>, other than a few archaeological remains and some notations from the writings of\u00a0<\/strong>Greek<\/strong>\u00a0historians. According to\u00a0<\/strong>Herodotus<\/strong>, the\u00a0<\/strong>magi<\/strong>, who were a priestly caste in ancient Iran, accompanied their sacrifice rituals with singing. <\/strong>Athenaeus<\/strong>\u00a0of\u00a0<\/strong>Naucratis<\/strong>, in his\u00a0Deipnosophistae, mentions a court singer who had sung a warning to the king of the Median Empire of\u00a0<\/strong>the plans<\/strong>\u00a0of\u00a0<\/strong>Cyrus the Great<\/strong>, who would later establish the Achaemenid dynasty on the throne.\u00a0Athenaeus also points out to the capture of singing girls at the court of the last Achaemenid king\u00a0<\/strong>Darius III<\/strong>\u00a0(336\u2013330 BC) by\u00a0<\/strong>Macedonian<\/strong>\u00a0general\u00a0Parmenion.\u00a0<\/strong>Xenophon<\/strong>‘s\u00a0Cyropaedia\u00a0also mentions a great number of singing women at the court of the\u00a0Achaemenid Empire. Under the\u00a0<\/strong>Parthian Empire<\/strong>, the\u00a0g\u014ds\u0101n\u00a0(<\/strong>Parthian<\/strong>\u00a0for “minstrel”) had a prominent role in the society.They performed for their audiences at royal courts\u00a0and in public theaters. According to\u00a0<\/strong>Plutarch<\/strong>‘s\u00a0Life of Crassus, they praised their national heroes and ridiculed their Roman rivals. Likewise,\u00a0<\/strong>Strabo<\/strong>‘s Geographica\u00a0reports that the Parthian youth were taught songs about “the deeds both of the gods and of the noblest men”.\u00a0Parthian songs were later absorbed into the Iranian national epic of\u00a0\u0160\u0101hn\u0101me, composed by 10th-century Persian poet\u00a0Ferdowsi.<\/strong>\u00a0\u0160\u0101hn\u0101me\u00a0itself was based on\u00a0Xwad\u0101yn\u0101mag, an earlier\u00a0<\/strong>Middle Persian<\/strong>\u00a0work that is now lost.\u00a0It is also mentioned in Plutarch’s\u00a0Life of Crassus\u00a0 that the Parthians used drums to prepare for battle. <\/strong><\/p>\n

Under the reign of the\u00a0Sasanians, the Middle Persian term\u00a0huniy\u0101gar\u00a0was used to refer to a minstrel.<\/strong>\u00a0The history of\u00a0Sasanian music\u00a0is better documented than the earlier periods, and is especially more evident in\u00a0Avestan\u00a0texts. The recitation of the Sasanian Avestan text of\u00a0Vendid\u0101d\u00a0has been connected to the Oxus trumpet. The\u00a0<\/strong>Zoroastrian<\/strong>\u00a0paradise itself was known as the “House of Song” (gar\u014ddm\u0101n\u00a0in Middle Persian), “where music induced perpetual joy”. Musical instruments were not accompanied with formal Zoroastrian worship, but they were used in the festivals. Sasanian musical scenes are depicted especially on silver vessels and some wall reliefs. <\/strong><\/p>\n

Middle Ages:<\/strong><\/p>\n

Chang<\/strong>\u00a0players depicted on a 6th-century\u00a0Sasanian\u00a0relief at\u00a0Taq-e Bostan.<\/strong><\/p>\n

Dancers and musical instrument players depicted on a\u00a0Sasanian\u00a0silver bowl from the 5th-7th century AD.<\/strong><\/p>\n

The reign of Sasanian ruler\u00a0Khosrow II\u00a0is regarded as a “golden age” for Iranian music. He is shown among his musicians on a large relief at the archaeological site of\u00a0Taq-e Bostan, holding a bow and arrows himself and standing in a boat amidst a group of harpists. The relief depicts two boats that are shown at “two successive moments within the same panel”.\u00a0The court of Khosrow II hosted a number of prominent musicians, including Azad,\u00a0Bamshad,\u00a0Barbad,\u00a0Nagisa, Ramtin, and\u00a0Sarkash. Among these attested names, Barbad is remembered in many documents and has been named as remarkably high skilled. He was a poet-musician who performed on occasions such as state banquets and the festivals of\u00a0Nowruz\u00a0and\u00a0Mehrgan.\u00a0He may have invented the\u00a0<\/strong>lute<\/strong>\u00a0and the musical tradition that was to transform into the forms of\u00a0dastgah\u00a0and\u00a0maqam. He has been credited to have organized a musical system consisting of seven “royal modes” (xosrov\u0101ni), 30 derived modes (nav\u0101),\u00a0and 360 melodies (d\u0101st\u0101n).\u00a0These numbers are in accordance with the number of days in a week, month, and year in the\u00a0Sasanian calendar.<\/strong>\u00a0The theories these modal systems were based on are not known. However, writers of later periods have left a list of these modes and melodies. Some of them are named after epic figures, such as\u00a0Kin-e Iraj\u00a0(“Vengeance of Iraj”),\u00a0Kin-e Si\u0101va\u0161\u00a0(“Vengeance of Siavash”), and\u00a0Taxt-e Arda\u0161ir\u00a0(“Throne of Ardashir”), some are named in honor of the Sasanian royal court, such as\u00a0B\u0101\u011f-e \u0160irin\u00a0(“Garden of Shirin”),\u00a0B\u0101\u011f-e \u0160ahry\u0101r\u00a0(“Garden of the Sovereign”), and\u00a0Haft Ganj\u00a0(“Seven Treasures”), and some are named after nature, such as\u00a0Row\u0161an \u010cer\u0101\u011f\u00a0(“Bright Light”).<\/strong><\/p>\n

The academic\u00a0<\/strong>classical music of Iran<\/strong>, in addition to preserving\u00a0<\/strong>melody types<\/strong>\u00a0that are often attributed to Sasanian musicians, is based on the theories of sonic aesthetics as expounded by the likes of Iranian musical theorists in the early centuries of after the\u00a0<\/strong>Muslim conquest of the Sasanian Empire<\/strong>, most notably\u00a0<\/strong>Avicenna<\/strong>,\u00a0Farabi,\u00a0Qotb-ed-Din Shirazi, and\u00a0<\/strong>Safi-ed-Din Urmawi<\/strong>. <\/strong><\/p>\n

Two prominent Iranian musicians who lived under reign of the\u00a0<\/strong>third Arab caliphate<\/strong>\u00a0were\u00a0Ebrahim Mawseli\u00a0and his son\u00a0Eshaq Mawseli. <\/strong>Zaryab<\/strong>\u00a0of\u00a0<\/strong>Baghdad<\/strong>, a student of Eshaq, is credited with having left remarkable influences on\u00a0<\/strong>Spain<\/strong>‘s\u00a0<\/strong>classical Andalusian music<\/strong>. <\/strong><\/p>\n

Following the revival of Iranian cultural influences through the arrival of a number of Muslim Iranian dynasties, music became once again “one of the signs of rule”.9th-century Persian poet\u00a0Rudaki, who lived under the reign of the\u00a0Samanids, was also a musician and composed songs to his own poems. At the court of the\u00a0Persianate\u00a0Ghaznavid dynasty, who ruled Iran between 977 and 1186, 10th-century Persian poet\u00a0Farrokhi Sistani\u00a0composed songs together with songster Andalib and\u00a0tanburplayer Buqi.\u00a0<\/strong>Lute<\/strong>\u00a0player Mohammad Barbati and songstress Setti Zarrin-kamar also entertained the Ghaznavid rulers at their court. <\/strong><\/p>\n

Modern era:<\/strong><\/p>\n

A\u00a0<\/strong>Persian miniature<\/strong>\u00a0depicting musicians and dancers at a banquet. The artist is a student of\u00a0<\/strong>Kamal-ol-molk<\/strong>by the name of Ibrahim Jabbar-beik.<\/strong><\/p>\n

A\u00a0<\/strong>musical ensemble<\/strong>\u00a0from the time of\u00a0Qajar\u00a0ruler\u00a0Naser-ed-Din Shah, depicted by\u00a0<\/strong>Kamal-ol-molk<\/strong>.<\/strong><\/p>\n

Iran’s Society for National Music was founded by\u00a0Khaleqi\u00a0in 1949.<\/strong><\/p>\n

In the post-medieval era, musical performances continued to be observed and promoted through especially princely courts, Sufi orders, and modernizing social forces. Under the reign of the 19th-century\u00a0Qajar dynasty, Iranian music was renewed through the development of classical\u00a0<\/strong>melody types<\/strong>\u00a0(radif), that is the basic repertoire of Iran’s classical music, and the introduction of modern technologies and principles that were introduced from the West.\u00a0Mirza Abdollah, a prominent\u00a0<\/strong>tar<\/strong>\u00a0and\u00a0setar\u00a0master and one of the most respected musicians of the court of the late Qajar period, is considered a major influence on the teaching of classical Iranian music in Iran’s contemporary conservatories and universities.\u00a0Radif, the repertoire that he developed in the 19th century, is the oldest documented version of the seven\u00a0dastgah\u00a0system, and is regarded as a rearrangement of the older 12 maqam system. <\/strong><\/p>\n

Ali-Naqi Vaziri<\/strong>, a respected player of numerous Iranian and western instruments who studied western musical theory and composition in Europe, was one of the most prominent and influential musicians of the late Qajar and early\u00a0<\/strong>Pahlavi<\/strong><\/a>\u00a0periods. He established a private music school in 1924, where he also created a school orchestra composed of his students, formed by a combination of the tar and some western instruments. Vaziri then founded an association named\u00a0Music Club\u00a0(Kolub-e Musiqi), formed by a number of progressive-minded writers and scholars, where the school orchestra performed concerts that were conducted by himself. He was an extraordinary figure among the Iranian musicians of the 20th century, and his primary goal was to provide music for ordinary citizens through a public arena.\u00a0The\u00a0<\/strong>Tehran Symphony Orchestra<\/strong>\u00a0(Orkestr-e Samfoni-ye Tehr\u0101n) was founded by Gholamhossein Minbashian in 1933.\u00a0<\/strong>It was reformed by\u00a0Parviz Mahmoud\u00a0in 1946, and is currently the oldest and largest symphony orchestra in Iran. Later,\u00a0Ruhollah Khaleqi, a student of Vaziri, established the Society for National Music (Anjoman-e Musiqi-ye Melli) in 1949. Numerous musical compositions were produced within the parameters of classical Iranian modes, and many involved western musical harmonies.\u00a0<\/strong>Iranian folkloric songs<\/strong>\u00a0and poems of both classical and contemporary Iranian poets were incorporated for the arrangement of orchestral pieces that would bear the new influences. <\/strong><\/p>\n

Prior to the 1950s, Iran’s music industry was dominated by classical artists. New western influences were introduced into the\u00a0<\/strong>popular music of Iran<\/strong>\u00a0by the 1950s, with\u00a0<\/strong>electric guitar<\/strong>\u00a0and other imported characteristics accompanying the indigenous instruments and forms, and the popular music developed by the contributions of artists such as\u00a0Viguen, who was known as the “<\/strong>Sultan<\/strong>” of Iranian pop and jazz music.\u00a0Viguen was one of Iran’s first musicians to perform with a guitar. <\/strong><\/p>\n

Following the\u00a0<\/strong>1979 Revolution<\/strong>, the music industry of Iran went under a strict supervision, and pop music was prohibited for almost two decades. Women got banned from singing as soloists for male audiences. In the 1990s, the new regime began to produce and promote pop music in a new standardized framework, in order to compete with the abroad and unsanctioned sources of Iranian music. Under the presidency of\u00a0<\/strong>Reformist<\/strong>\u00a0<\/strong>Khatami<\/strong>, as a result of easing cultural restrictions within Iran, a number of new pop singers emerged from within the country.\u00a0Since the new administration took office, the\u00a0<\/strong>Ministry of Ershad<\/strong>\u00a0adopted a different policy, mainly to make it easier to monitor the industry. The newly adopted policy included loosening restrictions for a small number of artists, while tightening it for the rest. However, the number of album releases increased.<\/strong><\/p>\n

The emergence of\u00a0<\/strong>Iranian hip hop<\/strong>\u00a0in the 2000s also resulted in major movements and influences in the music of Iran. <\/strong><\/p>\n

Genres:<\/strong><\/p>\n

Classical music:<\/strong><\/p>\n

Main article:\u00a0<\/strong>Persian traditional music<\/strong><\/p>\n

The classical music of Iran consists of\u00a0<\/strong>melody types<\/strong>\u00a0developed through the country’s classical and medieval eras.\u00a0Dastgah, a\u00a0<\/strong>musical mode<\/strong>\u00a0in Iran’s classical music, despite its popularity, has always been the preserve of the elite. The influence of dastgah is seen as the reservoir of authenticity that other forms of musical genres derive melodic and performance inspiration from.<\/strong><\/p>\n

Folk music:<\/strong><\/p>\n

Main article:\u00a0<\/strong>Iranian folk music<\/strong><\/p>\n

Iran’s folk, ceremonial, and popular songs might be considered “vernacular” in the sense that they are known and appreciated by a major part of the society (as opposed to the art music, which caters for the most part to more elite social classes). The variance of the folk music of Iran has often been stressed, in accordance to the cultural diversity of the country’s local and ethnic groups.<\/strong><\/p>\n

Iranian folk songs are categorized in various themes, including those of historical, social, religious, and nostalgic contexts. There are also folk songs that apply to particular occasions, such as weddings and harvests, as well as lullabies, children’s songs, and riddles. <\/strong><\/p>\n

There are several traditional specialists of folk music in Iran. Professional folk instrumentalists and vocalists perform at formal events such as weddings. Storytellers (naqq\u0101l;\u00a0g\u014ds\u0101n) would recite epic poetry, such as that of the\u00a0\u0160\u0101hn\u0101me, using traditional melodic forms, interspersing with spoken commentary, which is a practice found also in\u00a0<\/strong>Central Asian<\/strong>\u00a0and\u00a0<\/strong>Balkan<\/strong>\u00a0traditions. The\u00a0bakshy\u00a0(bax\u0161i), wandering minstrels who play the\u00a0dotar, entertain their audiences at social gatherings with romantic ballads about warriors and warlords. There are also\u00a0<\/strong>lament<\/strong>\u00a0singers (rowze-x\u0101n), who recite verses that would commemorate the martyrdom of religious figures. <\/strong><\/p>\n

Iranian singers of both classical and folk music may improvise the lyric and the melody within the proper musical mode. Many Iranian folk songs have the potential of being adapted into major or minor tonalities, and therefore, a number of Iranian folk songs were arranged for orchestral accompaniment. <\/strong><\/p>\n

Many of Iran’s old folkloric songs were revitalized through a project developed by the\u00a0<\/strong>Institute for the Intellectual Development of Children and Young Adults<\/strong>, a cultural and educational institute that was founded under the patronage of Iran’s former empress\u00a0<\/strong>Farah Pahlavi<\/strong>\u00a0in 1965. They were produced in a collection of quality recordings, performed by professional vocalists such as\u00a0Pari Zanganeh,\u00a0Monir Vakili, and Minu Javan, and were highly influential in Iran’s both folk and pop music productions. <\/strong><\/p>\n

Symphonic music:<\/strong><\/p>\n

Main article:\u00a0<\/strong>Symphonic music in Iran<\/strong><\/p>\n

Ali Rahbari<\/strong>\u00a0conducting\u00a0Jeunesse Musicale de T\u00e9h\u00e9ran, in 1974.<\/strong><\/p>\n

Iran’s\u00a0<\/strong>symphonic<\/strong>\u00a0music, as observed in the modern times, was developed by the late Qajar and early Pahlavi periods. In addition to instrumental compositions, some of Iran’s symphonic pieces are based on the country’s folk songs, and some are based on poetry of both classical and contemporary Iranian poets. <\/strong><\/p>\n

Symphonische Dichtungen aus Persien<\/strong>\u00a0(“Symphonic Poems from Persia”), a collection of Persian symphonic works, was performed by the German\u00a0<\/strong>Nuremberg Symphony Orchestra<\/strong>\u00a0and conducted by Iranian conductor\u00a0<\/strong>Ali Rahbari<\/strong>\u00a0in 1980. <\/strong><\/p>\n

Loris Tjeknavorian<\/strong>, an acclaimed\u00a0<\/strong>Iranian Armenian<\/strong>\u00a0composer and conductor, composed\u00a0Rostam and Sohrab, an\u00a0<\/strong>opera<\/strong>\u00a0with\u00a0<\/strong>Persian<\/strong>\u00a0librettothat is based on the tragedy of\u00a0Rostam and Sohrab\u00a0from Iran’s long epic poem\u00a0\u0160\u0101hn\u0101me, in over two decades. It was first performed by the Tehran Symphony Orchestra at\u00a0<\/strong>Tehran<\/strong>‘s\u00a0Roudaki Hall\u00a0in December 2003. <\/strong><\/p>\n

In 2005, the\u00a0<\/strong>Persepolis Orchestra<\/strong>\u00a0(Melal Orchestra) played a piece that dates back 3000 years. The notes of this piece, which were discovered among some ancient inscriptions, were deciphered by archaeologists and are believed to have belonged to the\u00a0<\/strong>Sumerians<\/strong>\u00a0and the\u00a0<\/strong>anc<\/strong>i<\/strong>ent Greeks<\/strong>. Renowned Iranian musician\u00a0Peyman Soltani\u00a0conducted the orchestra.<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Pop music:<\/strong><\/p>\n

Main article:\u00a0<\/strong>Iranian pop music<\/strong><\/p>\n

Haydeh<\/strong>\u00a0and\u00a0Anoushirvanon the Iranian National Television, in 1975.<\/strong><\/p>\n

Following the emergence of\u00a0<\/strong>radio<\/strong>, under the reign of the Qajar dynasty, a form of\u00a0<\/strong>popular music<\/strong>\u00a0was formed and began to develop in Iran.\u00a0Later, the arrival of new western influences, such as the use of the guitar and other western instruments, marked a turning point in Iran’s popular music by the 1950s.\u00a0Iranian pop music is commonly performed by vocalists who are accompanied with elaborate ensembles, often using a combination of both indigenous Iranian and European instruments. <\/strong><\/p>\n

The pop music of Iran is largely promoted through mass media, but it experienced some decade of prohibition after the 1979 Revolution. Public performances were also banned, but they have been occasionally permitted since 1990. The pop music of\u00a0<\/strong>Iranian diasporan communities<\/strong>\u00a0has also been significant. <\/strong><\/p>\n

Jazz and blues music:<\/strong><\/p>\n

Main article:\u00a0<\/strong>Iranian jazz<\/strong><\/p>\n

Viguen<\/strong>, Iran’s “<\/strong>Sultan<\/strong>” of pop and jazz music. <\/strong><\/p>\n

Jazz<\/strong>\u00a0music was introduced into Iran’s popular music by the emergence of artists such as\u00a0Viguen, who was known as Iran’s “<\/strong>Sultan of Jazz<\/strong>“. Viguen’s first song,\u00a0Moonlight, which was released in 1954, was an instant hit on the radio and is considered highly influential. <\/strong><\/p>\n

Indigenous Iranian elements, such as classical musical forms and poetry, have also been incorporated into Iranian jazz.\u00a0Rana Farhan, an Iranian jazz and blues singer living in New York,\u00a0combines classical Persian poetry with modern jazz and blues.\u00a0Her best-known work,\u00a0Drunk with Love, is based on a poem by prominent 13th-century Persian poet\u00a0<\/strong>Rumi<\/strong>.\u00a0Jazz and blues artists who work in post-revolutionary Iran have also gained popularity. <\/strong><\/p>\n

Rock music:<\/strong><\/p>\n

Main article:\u00a0<\/strong>Iranian rock<\/strong><\/p>\n

Rock music\u00a0was introduced into Iran’s popular music by the 1960s, together with the emergence of other Western European and American musical genres.\u00a0It soon became popular among the young generation, especially at the nightclubs of Tehran.\u00a0In post-revolutionary Iran, many rock music artists are not officially sanctioned and have to rely on the Internet and underground scenes. <\/strong><\/p>\n

In 2008,\u00a0<\/strong>power metal<\/strong>\u00a0band\u00a0Angband\u00a0signed with German\u00a0<\/strong>record label<\/strong>\u00a0<\/strong>Pure Steel Records<\/strong>\u00a0as the first Iranian metal band to release internationally through a European label. They had collaborations with well-known producer Achim K\u00f6hler. <\/strong><\/p>\n

Hip hop:<\/strong><\/p>\n

Main article:\u00a0<\/strong>Iranian hip hop<\/strong><\/p>\n

Iranian hip hop emerged by the 2000s, from the country’s capital city,\u00a0<\/strong>Tehran<\/strong>.\u00a0It started with underground artists recording mix tapes influenced by the American\u00a0<\/strong>hip hop<\/strong>\u00a0culture, and was later combined with elements from the indigenous Iranian musical forms.<\/strong><\/p>\n

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