Persian traditional music
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Persian traditional music (also known as Iranian traditional music, Musiqi-e Sonati-e Irani, also Persian classical music or Iranian classical music, Musiqi-e Assil-e Irani) is the traditional and indigenous music of Iran and Persian-speaking countries: musiqi, the science and art of music, and moosiqi, the sound and performance of music (Sakata 1983).
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[edit] Origins
The term "Khonyâ-ye Bâstâni Irâni" (خنيای باستانی ایرانی) is the Iranian transliteration of what would translate into "ancient Iranian music," that is to say, Iranian classical music. This Iranian term is well-understood today,[citation needed] but is rarely used when compared to the more frequently used term, "Mousiqi-e aseel," (which has a similar translation). Through excavated evidence, such as statuettes recovered in Susa, it can be said that music in Iran can be traced back to the days of the Elamite Empire (2,500-644 B.C). Little is known of the music during this period, except for the fact that various instruments, such as guitars, lutes and flutes were created and played. The barbat and other instruments are said to have originated in this period, probably around 800 B.C..[citation needed]
During the Achaemenid Empire, it was stated[citation needed] by Herodotus that music played an important role, especially in court. He mentions that music was crucial to religious ceremonies in worshipping the god Mithra - later to be accepted a Amesha Spenta - as well as several other idols, after Zoroastrianism became popular.
[edit] Aspects
Though the origins of Iran's modal music remain vague, research has revealed more than was previously known. Barbod the Great of the 7th Century (A.D.), a court musician of the Sassanid Empire, created the first ever musical system in the Middle East,[citation needed] known as the "Royal Khosravani," dedicated to the king Khosrau II. Many current names of the modes used in Iranian classical music, dastgahs, have survived from that time by an oral tradition, though many of the modes and melodies have disappeared, probably because of Arab invaders who viewed music as immoral behavior.
Iranian classical music relies on improvisation and composition and is based on a series of modal scales and tunes which must be memorized. Apprentices and masters (ostad) have a traditional relationship which has declined during the 20th century as music education moved to universities and conservatories. A repertoire of more than two hundred series (radif) are each divided into short melodic movements called gusheh, which are themselves divided into twelve dastgah. Each gusheh and dastgah has an individual name. A typical performance consists of a pishdaramad (pre-introduction or more appropriately prelude), daramad (introduction), tasnif (song), Chaharmezrab (rhythmic), reng (dance), and a chosen number of gusheh. A performance forms a sort of suite. The gusheh and daramad are non-metric and rhythm-free, while the tasnif, pishdaramad, reng and chaharmezrab are rhythmic. Unconventionally, these parts may be varied or omitted. Towards the end of the Safavid Empire (1502-1736), more complex movements in 10, 14, and 16 beats stopped being performed. In fact, in the early stages of the Qajar Dynasty, the usul (rhythmic cycles) were replaced by a meter based on the ghazal and the maqam system of classification was altered to the radif system which is used to this day. Today, rhythmic pieces are performed in beats of 2 to 7 with some exceptions. Many melodies and modes are related to the maqams of Turkish and Arabic music.
Upon their invasion of the Persian Empire, the Arabs declared[citation needed] the lands they conquered as their "Islamic World." Though most Arab rulers prohibited musical activity, others ordered Persian musicians to write compositions for the courts of the caliphate. Books written by Iranian musicologists, such as Farabi's Kitab al-Musiqi al-Kabir, have influenced the music cultures throughout the Islamic world.[citation needed] Iranian music has influenced the music of various countries greatly since the Sassanian times,[citation needed] which provides a reason why melodies within the classical music of Turkey, Syria, Iraq and Egypt bear the names of some Iranian modes.[citation needed]
The classical music is vocal based. The vocalist plays a crucial role: she or he decides what mood to express and which dastgah relates to that mood. In many cases, the vocalist is also responsible for choosing the poems to be sung. 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 hers or his role. At times, the musicians may accompany the singer by singing along several verses. Traditionally, music is performed while seated on finely decorated cushions and rugs. Candles are sometimes lit. The group of musicians and the vocalist decide on which dastgahs and which of their gushehs to perform, depending on the mood of a certain time or situation.
Before the Arab invasion, the melodies in which recitals from the Avesta were chanted or sung were fitted into modes. The term "gah" has two meanings: in the Pahlavi language, it means both "gath" (a prayer from the Avesta) and also "time." Modern day musicians tend to attribute the meaning of "gah" strictly to "time" or "place" in regards to movements on an instrument. The modes "yekgah, dogah, segah chahargah, panjgah, sheshgah, and haftgah" were used to recite gaths one through seven. Recently, it was discovered that the mode "rast" (lit. truth) was used while singing stories of truthful acts or people and "shekasteh" (lit. broken) was used in telling stories of evil doers. The mode "homayoun" was used while reciting morning prayers. Most of these modes, except probably for "sheshgah" and "haftgah" still exist in the system today. However, it is virtually impossible to know how the music sounded during that era. So while the names of the modes can be traced to antiquity, no conclusion can be reached on the similarities of their sounds. After the Sassanian era, it is obvious that newer melodies were created in various different periods, probably through hundreds of years. When Islam became the dominant religion of Iran, rulers decided to either ban music or to later discourage people from the recital of Mazdean prayers in those modes. Classical music was performed strictly in court up until the 20th century. It was performed in secret during the rule of Islamic extremists of medieval era.
Iranian classical music continues to function as a spiritual tool as it has throughout its history, and much less of a recreational activity. Compositions can vary immensely from start to finish, usually alternating between low, contemplative pieces and athletic displays of musicianship called tahrir. The incorporation of religious texts as lyrics were replaced by lyrics largely written by medieval Sufi poets, especially Hafez and Jalal-e Din Rumi.
[edit] Major instruments
Instruments used in Persian classical music include the bowed spike-fiddle kamancheh, the goblet drum tombak, the end-blown flute ney, the frame drum daf, the long-necked lutes tar, setar, tanbur, dotar, and the dulcimer santur. The ordinary violin is also used, with distinctively Persian tuning. Harps, "chang[s]," were a very important part of music up until the middle of the Safavid Empire. They were probably replaced because of tuning problems or replaced by the qanun (zither)and later the piano which was introduced by the West during the Safavid Dynasty of Iran. Many, if not most, of these instruments originated in Iran. Perhaps the most loved string instrument is the tar. Tar players are regurlarly chosen to function as the primary string instrument in a performance. The setar is also loved for its delicacy and is the favorite among Mystic musicians. Some instruments like the sorna, neyanban, dohol, naghareh, and others, are not used in the classical repertoire but are used in Iranian Folk music. The ghazhak (ghaychak), a type of fiddle, is being re-introduced to the Classical field after many years of exclusion. The instruments used in the Classical field are also used in Iranian Folk Music.
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[edit] Major ensembles
- Aref ensemble
- Sheyda ensemble
- Masters of Persian Music
- National music ensemble (Shahram Nazeri's group)
- Dastan ensemble winner of Grand Prix du Disque for World Music
- The Kamkars
- Shakila's group winner of Persian Academy Awards International
- Chemirani ensemble
- Lian ensemble
[edit] References
- Sakata, Lorraine (1983). Music in the Mind, The Concepts of Music and Musicians in Afghanistan. Kent: Kent State University Press.
[edit] Further reading
- Miller, Lloyd. Music and Song in Persia : The Art of Avaz. Salt Lake City University of Utah Press, 1999.
- Akbarzadeh, Pejman. Persian Musicians, Navid Publications, Shiraz, 1998, ISBN 964-6810-20-9.
- Akbarzadeh, Pejman. Persian Musicians, Vol.II, Roshanak Publications, Tehran, 2002, ISBN 964-93867-3-4.
[edit] See also
- Golha
- Music of Afghanistan
- Music of Armenia
- Music of Azerbaijan
- Music of Iran
- Music of Tajikistan
- Music of Uzbekistan
- Persian literature
- Persian Symphonic Music
- Radio Golha
- Sassanid music
[edit] External links
- Radif
- Iranian music of the past 70 years
- Nay-Nava the Encyclopedia of Persian Music Instruments
- About Persian classical music
- Another portal
- Another portal
- Persian Music - Directory of Persian music related web sites.
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