Moosiqi Asil or Persian music is the traditional and indigenous music of Persia and Persian-speaking countries: musiqi, the science and art of music, and moosiqi, the sound and performance of music (Sakata 1983).
«Musiqi e’ Sonnati Iran»: The traditional music of Iran
A brief mention of Iranian language should be made here. Prior to the Arab invasion of Iran (Persia), that is before 636A.D, Iranian languages were nearly pure Iranian and consisted of no foreign words whatsoever. Even though Parsi (the oficial Persian language) does contain foreign words, the words are not understood by Arabs. Parsi is not a branch of Arabic. The term «Khonyâ-ye Bâstâni» (????? ??????? ??????) is the purely Iranian transliteration of what would translate into «Ancient Iranian Music,» that is to say, Iranian Classical Music. This Iranian term is well-understood today, but it is rarely used when compared to the more frequently used term, «Musiqi-e assil,» which would translate to about the same. Through excavated evidence, such as statuettes recovered in Susa, it can be fairly stated that music in Iran can be traced back to the days of the Elamite Empire (2,500-644B.C). Understandably, 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. Instruments, such as the «Barbat,» are said to have originated in this period, probably around 800B.C.
During the Achaemenid Empire, that infamous «Persian Empire,» it was stated by Heredotus that music played an important role, especially in court. He mentions that music was crucial to religious ceremonies in worshiping the God, Mithra, whom was later to be accepted a «Daeva,» a false God or devil, as well as several other idols, after the religion of Prophet Zoroaster became more and more accepted.
Ancient Iranians attached great importance to music and poetry, like today. Post Sassanid era silver plate. 7th century. The British Museum.The term «Khonyâ-ye Bâstâni Irâni» is a post-Achaemenian term. Parsi (Persian) is a language that was spoken at court along with Pahlavi, the official language of the Sassanid Empire (224-642A.D.) and consists of most of the same words and the same grammar as Pahlavi. So the word for music during Sassanid rule and in pure Parsi today, is actually «Khonya.» Though the origins of Iran’s modal music remain vague, research has revealed more than was previously known. The court musician of the Sassanid Empire, Barbod the Great, created the first ever musical system in the Middle East, known as the «Royal Khosravani,» dedicated to the king Khosrow (Chosroes). Many of the 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 is improvised 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 conservatoires. A repertoire of more than two hundreed series (radif) are each divided into short melodies 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), «daramad» (introduction), «tasnif» (song), «Chahar Mezrab» (rhythmic) and a chosen number of «gusheh» (movements). Unconventionally, these parts may be varied or omitted. Up until the end of the Safavid Empire (1502-1736), complex movements in 10, 14, and 16 beats stopped being performed. Today, pieces are performed in 6 or at most 7 beats, which is unfortunate. Many melodies and modes are related to the maqams of Turkish and Arabic music:it must be made clear that the Arabs, upon their invasion of the Persian Empire, declared the lands they had conquered as their «Islamic World.» Though most Arab rulers prohibited musical activity, others ordered Persian musicians to write compositions in the form of a book which was called, in Arabic, «Kitab al-Musiqi al-Kabir,» meaning The Great Book of Music. Other than the influence of the Sassanid Empire, this is another reason that melodies within the classical musics of Turkey, Syria, Iraq and Egypt bare some names of Iranian scales and modes.
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. The vocalist is also responsable, in many cases, 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 cusions 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.
This wall painting depicts a scene from 17th century Persia.Before the Arab invasion, the melodies in which recitals from the «Avesta,» the sacred book of the Mazdean religion of Prophet Zoroaster(world’s first Prophet of Monotheistic religion) were chanted or sung, were fited into those modes (visitfor more details on this in Persian). The term «gah» has two meanings: in the Pahlavi language, it means both «gath» (a prayer from the Avesta) and also «time.» 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. Despite this evidence, musicians still tend to attribute the meaning of «gah» strictly to «time» or «place» in regards to movements on an instrument. 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. It is important to say that a few movements are probably not ancient, but very old.
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.
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, tambur, dotar, and the dulcimer santur. Harps, «chang[s],» were a very important part of music up until the middle of the Safavid Empire. They were most-likely replaced by the piano which was introduced by the West during the Safavid Dynasty of Iran. Many, if not most, of these instruments inspired the creation of instruments of other Middle Eastern Countries. Perhaps the most loved string instrument is the tar. Tar players are highly chosen to function as the primary string instrument in a performance. The setar is also very loved for its delicacy and is the favorite among Mystic musicians. Some instruments like the sorna, neyanban, dohol, gheichak, and others, are no longer used in the Classical repertoire as they were during the Sassanid era yet they have maintained their place in Iranian Folk Music, another ancient tradition. The instruments used in the Classical field are also used in Iranian Folk Music.
- Afro – Persian Kamancheh Fusion – MP3s of Experimental Kamancheh by Larri. Explorations in Afro-Persian Kamancheh music.
- Avazeh – Homepage of Anis Moin, an Iranian singer living in Sweden. Features news, biography, discography and some music samples.
- Classical Persian Music – A good article on the history of classical Persian music with a brief description of musical instruments.
- Classical Persian Music – A brief about classical Persian music with historical approach
- Elahi (1895-1974) – Official Website of the late Elahi (composer and Kurdish tanbour player) that includes info of his life, works and so on.
- Eshgh-e-Iran – 24/7 Persian Music, live radio, Music of today and yesterday from outside and inside of Iran.
- Fariborz Lachini – Fariborz Lachini – Composing unique scores for film, television, theatre and interactive multimedia with a Middle Eastern feel. His website includes news blog, music room, biography, filmography and discography sections.
- Googoosh Page – Fan page for the singer, with information and links to real audio files, music videos and photos.
- Googoosh.com – Official site for the pop singer, with concert calendar, news, image gallery, biography and messages for her fans.
- Hayedeh – Wikipedia article about the singer, her career and biography.
- Hayedeh – The singer’s official website including biography, pictures, downloads of music files and a list of her recordings.
- Hossein Behroozinia – Canada-based barbat player. Includes profile, tour schedule, discography with audio samples, an introduction to the barbat, and links.
- Hossein Omoumi – A ney player that includes his biography, press, concerts, discography and photos.
- An Introduction to Persian Music – A good article about Persian music and its history by Prof. Hormoz Farhat
- Iranian Classical Music – Brief history of Iranian classical music and reviews of some albums.
- Iranian Musicology – Email forum for the exchange of information, ideas, and research on and about Oriental musical cultures, especially the music of Iran.
- Iranian Traditional Music – Includes descriptions, sounds and photos of classical instruments of Iran and also the history of Radif, the foundation of Iranian traditional music. Site provides a complete list of dastgahs, maghams and goushehs and some sheet music for some of the dastgahs.
- Iranian/Persian Music – Large Audio Files of Persian Music (Format: AU/WAV)
- IranMidi.com – Midi files of Persian songs.
- Kereshmeh Records – Kereshmeh Records is a non-profit organization. It has information of Persian music, artists, musical instruments and a music mailing list.
- Lian Records – Liän Records presents a new approach to music inspired by mystical world music and Persian Sufi music and literature. It has a good section about Persian music with some good articles.
- Majid Nazempour – Official website of Majid Nazempour, Iranian oud player. In his website you can find his biography, history of oud and some nice pictures of oud.
- Maryam Yusefzadeh – US-based website for Persian music by Maryam Yusefzadeh. Her website contains her music production, news and calendar.
- Moein – Fan site for the pop singer, containing his biography and discography.
- Mohammad Esfahani – Official site of the Iranian singer, with biography, discography and upcoming concerts. [English / Farsi]
- Musica Persiana – History of Persian music. Several Real Audio samples of ethnic music styles.
- Nassehpoor Ensemble – Four member art music group. Includes member profiles, music samples, and related articles.
- Omid Lotfi – Website of Omid Lotfi, setar, divan and daf player. His website includes some useful articles, sample sound files and his activities.
- Parissa – Iran-based Classical Persian vocalist. Site includes biography and photo album.
- Persian Art and Culture – Information about Persian art music, the instruments, musicians and radif.
- Persian Classical Music – History, similarities and differences with other Central Asian styles, relationship with Sufi poetry, the dastgah system, composition structure, instruments, and links.
- Persian Music at Mahour Productions – Persian traditional and folk music on CDs, books and tapes.
- Persian Musicians – Interview with Pejman Akbarzadeh, Iranian journalist and a member of Artists Without Frontiers.
- The Persian Ney – Information about this traqditional wind instrument and its players.
- Probe Music – Quintet that plays a fusion of Persian, American jazz, Indian, Spanish, Gypsy and Gamelon. Site features music samples, reviews and ordering information.
- Radif – Explains this core group of traditional melodies and the way they are used in musical performance. Lists all dastgahs, maghaams and gushehs.
- Ritual and Religious Music in Iran – Mohammad Reza Darvish discusses the music of Muslims, Christians, Jews and Zoroastrians in Iran.
- Santur.com – Website of Dr. Manoochehr Sadeghi includes information about santur (Persian hammered dulcimer), radif music and articles about Persian art music.
- Setar – Information about masters, techniques, sound samples, history of setar and related instruments.
- The Shayda Institute – Shayda Institute website is of maestro Mohammad Reza Lotfi and has some useful articles about Persian music.
- Taaj Esfahani – Homepage of a master of Persian traditional singing. Features some song samples. [Site in Farsi and English]
- Tanbour – Tanbour.org is a New York base institute focused on performing and teaching Persian Sufi, spiritual and folk music.
- Tinoush Bahrami – Website of Tinoush Bahrami, tar and setar player. His site includes some info about him, his musical activities and sound files.
- Tombak Network – Dedicated to promoting the Persian goblet drum. Includes artists, articles, book and audio reviews, courses and players.
- A View on Folkloric Music of Mazandaran – Essay about the ritual songs and music of Mazandaran.
