Loss of Development in Iranian Music

1 July 2023 – 11:48 pm Posted in Articles' List, Iranian Classical Music

By Pouria Nasiri and Sadjad Pourghanad
The mention by music instructors, academicians, students, and music enthusiasts about the lack of development in Iranian music is a topic that has been repeatedly heard, resulting in a superficial understanding and misinterpretation of Iranian music, which has been conveyed to students of the arts. This short essay aims to critique and examine this claim.

Firstly, the term “Iranian music” or “music of Iran” must be defined, as it encompasses a wide range of music from different regions of Iran, classical Iranian music, Iranian pop music, and more. Since there is development and expansion in various areas of Iranian music, it is necessary to use the term “Iranian music repertoire” instead of a vague expression.

Secondly, there are numerous examples where the Iranian music repertoire has been utilized for music material extraction, followed by its development and expansion. For instance, we can mention compositions by Ahmad Pejman, Hossein Dehlavi, Kambiz Roshanravan, and Hossein Alizadeh.

Thirdly, within the Iranian music repertoire (regardless of whether it is vocal or instrumental or told through a particular narrative), there exists a level of development and expansion in various aspects. One of the most important tools in this regard is the use of sequences, which plays a significant role in form and composition. Additionally, the extensive use of sequences in various modes such as Hesam, Khorasani, Khorshidi, Razavi, and Khavaran, among others, makes the claim of a lack of development and expansion in Iranian music unacceptable.

Furthermore, development and expansion are not solely achieved through sequencing but also through rhythmic, melodic, or rhythmic-melodic variations in the presented materials. For example, the introduction section (daramad) of Dashti vocal repertoire in the interpretation of Mirza Abdullah Boroumand showcases this. Moreover, the use of repetition (in literal, variational, or duplum forms) to strengthen the developmental process can be cited as a stage of expansion and development, countering the claims made.

Therefore, based on the aforementioned points, it is essential for music instructors and students to pay more attention to their interpretations of the position and characteristics of the Iranian music repertoire. By giving proper respect to this cultural and artistic foundation, they can make appropriate use of its capacities.

This entry was written by HarmonyTalk
Tagged: Development, radif, traditional music.

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

Latest posts

From Past Days…

Shaahin Mohajeri Wins UnTwelve Composition Competition

UnTwelve Non-profit Organization announced the results of its 2014/2015 composition competition on January 28, 2015. Shaahin Mohajeri, an Iranian Tonbak player, microtonalist, acoustician and composer, was awarded the second prize for his piece “Castle of Babak.”

Principles of Playing Violin (VI)

B. applying force: the force needed for putting finger on finger board is applied through finger tips and using the rest of hand set especially wrist is not allowed. To practice this, it is possible to hold violin without the bow and throw the fingers on the finger board from 1-2cm distance; apply force only through finger tips.

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)

The Mystery of Messiah

Antonio Stradivari (1644 – 18 December 1737) was an Italian luthier and is considered the most significant and greatest artisan in this field.

Is the Iranian National Anthem a Copy? (II)

In response, it should be said that it is better for the national anthem of a country to use the musical material exclusive to that country; however, some problems might come up in doing so the most important of which include: lack of familiarity of other countries’ music performer with the concerned country’s specific music intervals and special musical technique; and secondly, the strangeness of that music to the foreign listener.

The 4th Iranian Festival of Music Websites and Weblogs

The 4th Iranian Festival of Music Websites and Weblogs was held in Niavaran Cultural Center, in Tehran, Iran on Feb. 28th, 2015. The initiator of the festival was Sajjad Pourghanad, Iranian music writer, researcher, founder of the festival and Persian setar and tar player.

Iranian Fallacies – School of Vaziri

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (2)

Innovation and Creativity The Enlightenment era championed innovation, creativity, and the relentless pursuit of knowledge, values that resonate prominently in Mozart’s string quartets. Mozart, a luminary of the Enlightenment, used the quartet form as a playground for his inventive spirit, pushing the boundaries of traditional structures and harmonic progressions. Mozart’s innovative approach is evident in…
Read More »

The Structure of Kurdistan Daf (I)

Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.

“Pledge of Love”

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer.