Persian traditional music or Iranian traditional music, also known as Persian classical music or Iranian classical music,[1][2][3] refers to the classical music of Iran (also known as Persia). It consists of characteristics developed through the country's classical, medieval, and contemporary eras. It also influenced areas and regions that are considered part of Greater Iran.[4]

Iran's classical art music continues to function as a spiritual tool, as it has throughout history, and much less of a recreational activity. It belongs, for the most part, to the social elite, as opposed to the folkloric and popular music, in which the society as a whole participates. However, components of Iran's classical music have also been incorporated into folk and pop music compositions.[4]

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The history of musical development in Iran dates back thousands of years. Archaeological records attributed to "pre-Iranian" civilizations, such as those of Elam in the southwest and of Oxus in the northeast, demonstrate musical traditions in prehistoric times.[5]

Little is known about the music of the classical Iranian empires of the Medes, the Achaemenids, and the Parthians. However, an elaborate musical scene is revealed through various fragmentary documents, including those that were observed at the court[5][6] and in public theaters[7] and those that accompanied religious rituals and battle preparations.[5] Jamshid, a king in Iranian mythology, is credited with the "invention" of music.[8]

The history of Sasanian music is better documented than the earlier periods, and the names of various instruments and court musicians from the reign of the Sasanians have been attested. Under the Sasanian rule, modal music was developed by a highly celebrated poet-musician of the court named Barbad, who is remembered in many documents.[9] He may have invented the lute and the musical tradition that was to transform into the forms of dastgah and maqam. He has been credited to have organized a musical system consisting of seven "royal modes" (xosrovni), 30 derived modes (nav),[10] and 360 melodies (dstn).[5]

Khosrau II was a great patron of music, and his most famous court musician, Barbod, was said to have developed a musical system with seven modal structures (known as the Royal Modes), thirty derivative modes, and 365 melodies, associated with the days of the week, month and year"[17].

Iran's academic classical music, in addition to preserving melody types 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 Muslim conquest of the Sasanian Empire, most notably Avicenna, Farabi, Qotb-ed-Din Shirazi, and Safi-ed-Din Urmawi.[4]

The introduction and popularity of western musical influences in the early contemporary era was criticized by traditionalists, who felt that traditional music was becoming endangered. It was prior to the 1950s that Iran's music industry was dominated by classical musicians.[13] In 1968, Dariush Safvat and Nur-Ali Borumand[14] helped form an institution called the Center for Preservation and Propagation of Iranian Music, with the help of Reza Ghotbi, director of the National Iranian Radio and Television, an act that is credited with saving traditional music in the 1970s.[citation needed]

The "Radif of Iranian music" was officially inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2009, described as "the traditional repertoire of the classical music of Iran".[15][16]

Iran's classical art music relies on both improvisation and composition, and is based on a series of modal scales and tunes including twelve Dastgahs and Avazes.[17] Compositions can vary immensely from start to finish, usually alternating between low, contemplative pieces and athletic displays of musicianship called tahrir. The common repertoire consists of more than 200 short melodic motions (gue), which are classified into seven modes (dastgh). Two of these modes have secondary modes branching from them that are called vz. This whole body is called radif, of which there are several versions, each in accordance with the teachings of a particular master (ostd).

By the end of the Safavid Empire, more complex musical movements in 10, 14, and 16 beats stopped being performed. In the early Qajar era, the rhythmic cycles (osul) were replaced by a meter based on the qazal, and the maqam system of classification was reconstructed into the radif system. Today, rhythmic pieces are performed in beats of 2 to 7, with some exceptions. The reng are always in a 6/8 time frame.[citation needed]

Iran's classical art music is vocal based, and the vocalist plays a crucial role, as he or she decides what mood to express and which dastgah relates to that mood. In many cases, the vocalist is also responsible for choosing the lyrics. If the performance requires a singer, the singer is accompanied by at least one wind or string instrument, and at least one type of percussion. There could be an ensemble of instruments, though the primary vocalist must maintain his or her role. In some tasnif songs, the musicians may accompany the singer by singing along several verses.[citation needed]

Indigenous Iranian musical instruments used in the traditional music include string instruments such as the chang (harp), qanun, santur, rud (oud, barbat), tar, dotar, setar, tanbur, and kamanche, wind instruments such as the sorna (zurna, karna), ney, and neyanban, and percussion instruments such as the tombak, kus, daf (dayere), naqare, and dohol.[citation needed]

Some instruments, such as the sorna, neyanban, dohol, and naqare, are usually not used in the classical repertoire, but are used in the folk music. Up until the middle of the Safavid Empire, the chang was an important part of Iranian music. It was then replaced by the qanun (zither), and later by the western piano. The tar functions as the primary string instrument in a performance. The setar is especially common among Sufi musicians. The western violin is also used, with an alternative tuning preferred by Iranian musicians. The ghaychak, that is a type of fiddle, is being re-introduced to the classical music after many years of exclusion.[citation needed]

The following articles on the Persian Wikipedia (easily translated with a browser such as Chrome) cover material not yet included in the English Wikipedia. It is easy to gloss over rhythm, instrument and song as having the same meanings that they have in western musical theory, when they have specific meanings in Persian musical theory.

In essence, the Radif is a collection of predominantly non-rhythmical melodic compositions that encompass the range of melodic systems (dastgah). Each piece represents a niche (gusheh) within the system (dastgah). A niche develops the scale either by focusing on a certain note in the scale, by establishing a specific musical phraseology, or by modulating to a sub-scale within the system. A niche can also contain some or all of these features.

Fourth, there are several Radif which are studied and memorized by students of Persian music. Each Radif has some overlapping gusheh, and some have unique gusheh. But the most important gusheh usually overlap in its overall character.

In practice, most masters of Persian music know these gusheh intimately if not memorized by heart. They take the general forms of these gusheh and develop melodies based on their general feeling and character either when composing or improvising. These systems and niches are the building blocks of what is Persian music, you will even hear aspects of radif in Persian pop music.

I will be creating a series of blog posts dealing specifically with each Dastgah and their characteristics in detail to create an image of how Dastgah works independently and in relation to each other. I believe it will vastly aid in understanding, propagating, and memorizing the essential characteristics of Radif, which make up the building blocks of Persian music. At this point, I will use the Radif of Miraza Abdollah in my analyses because of its versatility and my own familiarity with it.

(2) Classes of music. Persian culture recognizes categories of music parallel to those of Europe and India (among other cultures): folk music (maalli), urban popular music (sometimes pejoratively called musiqi-e mina), with functions parallel to those of Western popular music, exhibiting a great variety of musical styles; and classical music, designated with various adjectives as ail (authentic), sonnati (traditional), kelsik (classic, a French loanword), or dastghi (with patterns or rules). Various other forms of sound performances, such as the formal recitation of the Quran (tajwid), the passion plays (tazia), the recitations of poetry at the zur-na are, strictly speaking, ordinarily not classified as music.

Our knowledge of the history of music in Persia is based on a variety of sources, which do not contain notational documents. Art objects, from sculptures dating from ancient times to miniatures from the last eight centuries, depict instruments, performers, and contexts (Mirabdolbaghi; During and Mirabdolbaghi, passim; Nettl, 1991). Works of Persian literature and occasional writings by visitors to Persia contain descriptions of musical events and sounds. There is a rich body of philosophical and theoretical treatises about (or including) music that describe the system of modes, rhythms, and genres through history, and also discuss the moral and aesthetic aspects of music. The study of contemporary music terminology yields important clues. Much of the evidence suggests that important aspects of musical life, such as ensemble types (e.g., singer, accompanying wind or string instrument, drum), important instruments, and a system comprised of melody types that may be innovatively interpreted but go back many centuries. Music was an important element in imperial and aristocratic courts. Major figures in the history of Persian music include Brbad, the minstrel-poet at the court of the Sasanian king osrow II Parvz (r. 591-628), Ebrhim Maweli (742-803), the outstanding Persian musician at the court of Hrun al-Raid, and his equally celebrated son Esq Maweli (767-850), as well as a number of leading philosophers and music theorists, such as Abu Nar Frbi, Avicenna, afi-al-Din Abd-al-Momen of Urmia (Farhat, pp. 3-5), and Qob-al-Din of Shiraz. 0852c4b9a8

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