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Iran’s music is an amalgamation of tunes and melodies which have been created in the course of centuries Iran and have evolved along with other aspects of the Iranian life. They refelct the moral characteristics, as well as political, social events and geographical features of a countly with an ancient history. The subtlety and profundity of Iranian music leads man to reflection and deep thought and takes him to a celestial world, Iranian music includes the following branches:
- The pre-Islamic music (the music of ancient Iranian tribes such as, Bakhtyari, Kordi, Lori, etc.)
- The post-Islamic music:
- Maghaml (mystic) music; This music includes epic music, tyric music for marriage, birthday and other happy occasions, and elegiac music for mournful occasions.
- Radif music which Includes the Dastgahs(modes) of Traditional music.
In the contemporary era, Iranian music includes three branches;
the two above-mentioned groups in addition to a third one which
is Iran’s national music. This branch covers the traditional
melodies of the two above groups, but with a classic rendition.
According to the new classifIcation of Iranian Awaz (songs) and
modes, which has been set since a century ago, Iran’s
traditional singing and music has been divided Into 12 groups.
The seven groups which are wider and more independent are called
Dastgah (mode) and the other five groups which are not
independent and have been derived from the Dastgahs or modes are
called Awaz (a group of melodies with the same gamut.) So,
Iran’s present traditional music is only a remainder of the
former 12 Maghams (modes) and what we have today is a very small
part of the Iranian traditional music. The seven main Dastgahs
(modes) and the five Awaz groups have several pieces (gushe)
which are now the models of the contemporary musicians and
singers. The number of these pieces (gushes) is said to be 228.
The varoius and well-known Radifi (Iranian classical music) of
the masters of the 100-year old Iranian traditional music such
as Agha Hosein GhoMirza Abdollali, Darvish Khan, and Saba follow
the same order.
The Dastgahs (modes) and Awazes (melodies) in iran’s Traditional
Music.
The seven main Dastgahs or modes are: Shoor, Mahoor, Homayoon,
Segah, Chahargah, Nava, and Rast Panjgah. The five Awazes or
melodies are: Isfahan, Abou Ate, Bayat-e-Tork, Afsharl and
Dashti.
The Components of Dastgah and Awaz
In order to perform a Dastgah or Awaz, a special order must be
followed and that is; prelude, Awaz, Tasnif (song) and Reng
(dance tune). The late Oarvish Kban Innovated and added
Plshdaramad (what comes before the prelude) and Chahar Mezrab to
this order.
Iran’s Folklore Melodies
The late Khaleghi said in this regard," One of the valuable
sources of music in every country is the music and melodies
played and sung by the rural people who live in villages far
from the cities. And since their music and songs have been less
influenced by the urban people, they are
more ~iatural and original and are closer to the country’s
ancient and authentic music. Collecting such music not only
preserves It, but also gives us more lnformaUonaboutaco~ntry and
theway Its people live." As Iran has dlffrenttrlbeswlth
different cultures, Its folklore musk enjoys a vast variety,
both In the songs and the music. For Instance, the music of
Gilan, Azarbal Jan, Khorasan. Kordestan, Shlraz, and Baluchistan
have different melodle~ and accents. Iran’s folklore music has
two forms: 1)- Local melodies which are sung by one person or by
a group. 2)~ Local dances which are accompanied by nativ.
musical instruments.
Iran’s local melodies are one of the richest, most beautiful and
most various among the folklore melodies in the world. These
melodies reflect the thoughts, lives, and nature of the people
who have created them. They are one of the rich cultural sources
of Iran and can be the best inspiration for our musicians to
compose scientific music.
Some Samples Iran’s folklore Melodies:
Gilan and Talesh Music. Kurdistan Music. The music of the South
Coast of Iran. Lorestan, Bakhtlari & Fars Music. Sistan va
Balouchestan Music. Khorasan Music. Turkmen Music. Azarbaijan
Music.
Musical Instruments
Iran’s musical instruments have been of immense importance since
ancient times.
Around a hundred years ago, Iran’s music was gradually separated
from songs and followed its own way Iranian musicians and
composers masterted the Iranian musk and made innovations in
this regard but, on the whole, Iran’s Instrumental music, has
two main parts:
- Solo which is based on traditional music and improvisation.
- Group playing, either small or large groups with solo or chorus.
Solo
Solo Is highly significant in oriental music and this can be
related to the eastern philosophy and mysticism and making a
connection with the spiritual world. The eastern musician, in
his own sense, is engaged in some sort of worship, especially in
his soNtude.
Group Playing
Group playing became more common irlran since the time of
Nasereddin Shah the Qajar king. Itwas both in the form of
traditional music and
instruments and martial music and western instruments which were
introduced in Iran by Monsieur Loumer (the French music teacher
who had been invited to Iran to teach at Daroiphonoon school)
later, group playing became more common and with western musical
instruments joining the Iranian ones and the playing of Iranian
pieceson western Instruments, It further prospered.
The oldest Iranian musical instruments are the ney (the Iranian
flute) and the tambourine. The following are the different kinds
of Iranian musica instruments generally classified:
Wind Instruments
The ney is the oldest instrument in this group. it is a tube
made of cane wIth seven joints and six knots. The ney Is among
Iran’s rural instrumenti and i~ usually played in all parts
ollran.
Another Iranian wind instrument is Sorna (an oboe-like Iranian
instrument) which is common all ovElran and is of two
types:Bakhtyari and Azarbaijani. In Iran, the Soma is usually
accompanied by the Dohol or the naghareh (a drum-like Iranian
Instrument). This instrument is played at different occasions
according to the particular region of the country. In
lran’Kordestan, the dohol and the soma are played at mourning
ceremonies while in the north, the soma is played along with the
performance of ropewalkers and West Azarbaijari, the villagers
play the Sorna in their marriage ceremonies along with wood
dancing.
The Korna is an ancient and historical instrument which is made
and played differently In various provinces Iran. The main types
of the Korna (an Iranian instrument of the sorna family) are
those in the north ciran, Gilan and Mashhad. The Korna is mostly
played in Kordestan and Azarbaijan.
The Bagpipe: It is mostly used in the south oiran. In some parts
of Iran, it is called "Khiknai". It is also played in some parts
of Azarbaijan. '
String Instruments
One of the oldest string Instruments is Kamancheh (an Iranian
violin-like instrument resting on the ground during the
performance). This instrument can be used well both in solo and
in group performance. Kamancheh isa national musical instrument
which is played in all the provinces of Iran, but Is mostly
common among Turkmen and Turk tribes.
- The barbat (a harp-like Iranian instrument): this is an
instrument from the family of limited string instruments. It is
also called AI-e-Oud or Lout. Its body Is like a pear divided
lengthwise into two parts. It has a big body and a short necI~
which, in earlier times, used to have three strings. The rabab:
This instrument has four parts: a melon-shaped body, middle,
neck, and head. The strings of the rabab used to be made of the
she-bowel, but now they are made of nylon threads. Its plectrum
is made of chicken feather. This instrument is mainly rural and
is mostly played in Khorasan and also in some parts of
Baluchistan and Sistan.
The tar: it is one of the original Iranian string instruments,
It has a multi-part body and six strings. Other musical
instruments of the tar family are the Doter and the Setar. The
doter is usually played in Turkmen Sahra anKhorasan.
Musical Percussion Instruments
The famous Iranian percussion instruments are the dohol, the
dayereh, the drum and the Tonbak.
Dohol: It is a musical percussion instrument consisting of a
hollow cylindrical body with a diameter of around one meter and
a height of 25 to 30 centimeters. Both ends of the cylinder are
covered with a tightly stretched skin, the dohol is played with
two sticks, one of which is like a walking stick and the other
one isa thin twig. The dohol isa rural instrumentwhich usually
accompanies the sorna and is mostly playedFars. Baluchistan
andKordestan provinci.
Dayereh(Tambourine): This percussion instrument consists of a
wooden circle on one side of which, there is a tightly
strectched skin, it is struck with fingers of the two hands. The
Dayereh Is commonly used in urban areas rather than rural and
usually accompanies another musical instrument Presently, the
Dayereh is mostly played in Azarbaijan.
Drum: It is another percussion instrument which is smaller than
the dohol and is played with two sticks. Inmost parts Iran, it
is usually used in mourning ceremonies.
Tombak: The tombak isa percussion instrument made of wood
(usually wainutwood). It consists of two parts: the upper part
is acylindercovered by skin and the lower part is the neck of
the tombak which has a wide, open mouth. It is played by the
fingers and the skillful player performs artistic subtleties on
it.
String Percussion Instruments
The unique Iranian musical instrument in this group is the
santir. It consists of a trapezoid wooden box over which 72
white (high) and yellow (bass) strings have been stretched. It
has two wooden plectrums. The santir is an instrument which can
be played both solo and in group and it ii played in all parts
oflran.
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