Persian traditional music
Persian traditional music or Iranian traditional music, also known as Persian classical music or Iranian classical music,[1][2][3] refers to the classical music of Iran (also known as Persia). It consists of characteristics developed through the country's classical, medieval, and contemporary eras. It also influenced areas and regions that are considered part of Greater Iran.[4]
Due to the exchange of musical science throughout history, many of Iran's classical modes are related to those of its neighboring cultures.
Iran's classical art music continues to function as a spiritual tool, as it has throughout history, and much less of a recreational activity. It belongs, for the most part, to the social elite, as opposed to the folkloric and popular music, in which the society as a whole participates. However, components of Iran's classical music have also been incorporated into folk and pop music compositions.[4]
Characteristics[edit]
Iran's classical art music relies on both improvisation and composition, and is based on a series of modal scales and tunes including twelve Dastgahs and Avazes.[17] Compositions can vary immensely from start to finish, usually alternating between low, contemplative pieces and athletic displays of musicianship called tahrir. The common repertoire consists of more than 200 short melodic motions (guše), which are classified into seven modes (dastgāh). Two of these modes have secondary modes branching from them that are called āvāz. This whole body is called radif, of which there are several versions, each in accordance with the teachings of a particular master (ostād).
By the end of the Safavid Empire, more complex musical movements in 10, 14, and 16 beats stopped being performed. In the early Qajar era, the rhythmic cycles (osul) were replaced by a meter based on the qazal, and the maqam system of classification was reconstructed into the radif system. Today, rhythmic pieces are performed in beats of 2 to 7, with some exceptions. The reng are always in a 6/8 time frame.
A typical Iranian classical performance consists of five parts, namely pišdarāmad ("prelude"; a composed metric piece), čahārmezrāb (a fast, metric piece with a repeated rhythmic pattern), āvāz (the improvised central piece), tasnif (a composed metric song of classical poetry), and reng (a rhythmic closing composition).[4] A performance forms a sort of suite. Unconventionally, these parts may be varied or omitted.
Iran's classical art music is vocal based, and the vocalist plays a crucial role, as he or she decides what mood to express and which dastgah relates to that mood. In many cases, the vocalist is also responsible for choosing the lyrics. 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 his or her role. In some tasnif songs, the musicians may accompany the singer by singing along several verses.
The incorporation of religious texts as lyrics has largely been replaced by the works of medieval Sufi poets, especially Hafez and Rumi.