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.

Timeless or Timely: The Role of Historical Context in Defining Artistic Value

Imagine that, in the course of historical research, we discover a musical piece whose compositional techniques (including form, melody, texture, and orchestration) resemble those of a second-rate 19th-century composition. But further investigation reveals that this work predates that period by 200 years. Can we still deem it insignificant? Certainly not. Here, the first major role of historical judgment becomes evident.

Leading the Charge in Censorship

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

Latest posts

From Past Days…

Principles of Violin Playing (III)

Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

A few steps on the “Road to Bach”

The world of music has unparalleled respect for Bach. Bach is considered the spiritual father of classical music; Bach’s great position is due not only to his great achievements in the fields of harmony, counterpoint, and compositional sciences but also to his respect for and adherence to the artistic principles of classical music. In the history of classical music, it is recorded that Bach walked about fifty kilometers to listen to the music played by the great German organist Dieterich Buxtehude, and this is the path that every idealistic classical music student should walk.

Iranian Fallacies – Composition and Arrangement

In the tradition of classical music, it is generally tried to use the same technical terms related to music in all countries. Even in the cultures in which native terms exist to refer to musical terms, usually the better known universal terms are employed.

Polyphony in Iranian Music (IV)

Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).

Payam Taghadossi: Talented Iranian-Austrian Cellist

Payam Taghadossi (born in 1989) started his musical education at the age of 4 years with Monika Scherbaum in Bregenz (Austria). At the Conservatory Feldkirch he joined the class of Imke Frank and Martin Merker. Later he studied in Zurich (Switzerland) with Thomas Grossenbacher and Christian Proske, where he 2011 graduated as a Bachelor of Arts in Music Performance. Two years later as the student of Rafael Rosenfeld he received his Master of Arts in Music Performance diploma and later graduated as a Master of Arts in spezialized Music Performance in 2016 from the Hochschule für Musik Basel FHNW.

Whose dream?! Whose reality?!

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

Last Year under the Light of Music

Almost three months into the new Iranian year (starting March 21), it is still not too late to have a look at the last year and the challenges that the musicians faced. The following article was published on the first day of the New Year in the Persian edition of the HarmonyTalk journal.

Violin’s inner mold, an essential factor in developing the idea of violin

A part of the secrets of the masterpieces from the golden era lies in the special design of the instruments, as a result of a profound insight to and awareness of the significance of the precise calculation of the various components of the object of arts being created, such as making a violin or a bow.

Harmony in the Iranian Music (II)

One of his works was the translation of Harmony, which was carried out with the help of Mozayyan al-Dowleh, and included a pamphlet based on which he used to teach the subject to the students of the school of music; the pamphlet was never published. It was, in fact, a kind of simple harmony for the piano with no quadriads, it rather featured the engagement of both the right hand and the left hand which was being taught at the music school for the first time. Salar-Mo’azez also composed military marches and hymns for schools, which he harmonized to be performed and piano. Likewise, he used to compose for military orchestras.

A Promising Concert by National Instruments Orchestra

The National Instruments Orchestra of Iran performed its first concert amid much hope and anxiety on July 18, 2015. The Orchestra is founded by Roudaki Cultural and Arts Foundation which is a semi-private foundation in Iran. The Arts Director for the National Instruments Orchestra of Iran is cand the Orchestra Executive Director is Sadjad Pourghand.