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Iranian Folk and Classical Music

Iranian or Persian Folk Music: The modal concepts in Persian folk music are directly linked with that of the classical music. However, improvisation plays a minor role as folk tunes are characterized by relatively clear-cut melodic and rhythmic properties. The function of each folk melody determines its mood. The varying aesthetic requirements of wedding songs, lullabies, love songs, harvest songs, dance pieces, etc., are met with transparent and appropriate simplicity. The majority of the classical instruments are too elaborate and difficult for the folk musicians. Instead, there are literally dozens of musical instruments of various sorts found among the rural people. In fact, each region of the country can boast instruments peculiar to itself. Three types of instruments, however, are common to all parts of the country. They are, a kind of shawm called Surnay (or Sorna ~ Zorna), the various types of Ney (flute), and the Dohol, a doubleheader drum. A discussion of Persian music must necessarily include the new hybrid of mixed Persian-Western music which is functioning as a popular-commercial music. The use of western popular rhythms, an elementary harmonic superimposition, and relatively large ensembles composed of mostly western instruments, characterize this music. The melodic and modal aspects of these compositions maintain basically Persian elements. On the whole, it would be something of an understatement to say that the artistic merit of such a melange as this is rather questionable. (Prof. Farhat-musicologist Persianartmusic.com)

Iran is home to several ethnic groups, including Kurdish, Azerbaijanis, Bakhtiari and Baluchi peoples. Turkmen epic poets similar to Central Asian musicians are common in Khorasan, while Kurdish music is known for its double-reed duduk and an earthy, dance-oriented sound. The most famous personalities in Iranian folk music are Pari Zangeneh and Sima Bina.
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. Toward 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. 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 bear some names of Iranian scales and modes.

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 responsible, 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 decorated cusions and rugs. 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.

More on Dastgah system:
http://www.duke.edu/~azomorod/dastgah.html

Some Persian or Iranian instruments 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. 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 yet they have maintained their place in Iranian Folk Music.

		About Persian Music
		Iranian Folk and Classical Music Iranian or Persian Folk Music: The modal concepts in Persian folk music are directly linked with that of the classical music. However, improvisation plays a minor role as folk tunes are characterized by relatively clear-cut melodic and rhythmic properties. The function of each folk melody determines its mood. The varying aesthetic requirements of wedding songs, lullabies, love songs, harvest songs, dance pieces, etc., are met with transparent and appropriate simplicity. The majority of the classical instruments are too elaborate and difficult for the folk musicians. Instead, there are literally dozens of musical instruments of various sorts found among the rural people. In fact, each region of the country can boast instruments peculiar to itself. Three types of instruments, however, are common to all parts of the country. They are, a kind of shawm called Surnay (or Sorna ~ Zorna), the various types of Ney (flute), and the Dohol, a doubleheader drum. A discussion of Persian music must necessarily include the new hybrid of mixed Persian-Western music which is functioning as a popular-commercial music. The use of western popular rhythms, an elementary harmonic superimposition, and relatively large ensembles composed of mostly western instruments, characterize this music. The melodic and modal aspects of these compositions maintain basically Persian elements. On the whole, it would be something of an understatement to say that the artistic merit of such a melange as this is rather questionable. (Prof. Farhat-musicologist Persianartmusic.com) Iran is home to several ethnic groups, including Kurdish, Azerbaijanis, Bakhtiari and Baluchi peoples. Turkmen epic poets similar to Central Asian musicians are common in Khorasan, while Kurdish music is known for its double-reed duduk and an earthy, dance-oriented sound. The most famous personalities in Iranian folk music are Pari Zangeneh and Sima Bina. 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. Toward 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. 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 bear some names of Iranian scales and modes. 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 responsible, 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 decorated cusions and rugs. 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. More on Dastgah system: http://www.duke.edu/~azomorod/dastgah.html Some Persian or Iranian instruments 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. 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 yet they have maintained their place in Iranian Folk Music.