Persian traditional music

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Persian traditional music or traditional Iranian music , also known as classical Persian music or Iranian classical music , referring to music classical Iran ( also known as Persian ). It consists of characteristics developed through the classical, medieval, and contemporary era of the country.

Due to the exchange of musical knowledge throughout history, many of the melodies and classical Iranian modes are related to the culture of its neighbors.

The classical music of Iranian art continues to function as a spiritual tool, as it happens throughout history, and far less than recreational activities. This includes most of the social elite, as opposed to folkloric and popular music, where society as a whole participates. However, the parameters of Iranian classical music have also been incorporated into the composition of folk and pop music.

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Histori

History of music development in Iran has been around for thousands of years. Archaeological records associated with "pre-Iranian" civilizations, such as Elam in the southwest and the Oxus in the northeast, show musical traditions in prehistoric times.

Little is known about Iranian classical royal music from Media, Achaemenids, and Parthians. However, complicated musical scenes are revealed through fragmentary documents, including those observed in court and in public theaters and which accompany religious rituals and war preparations. Jamshid, a king in Iranian mythology, is credited with "inventing" music.

Sasanian music history is better documented than the previous period, and the names of various instruments and musicians of the palace from the reign of Sasanians have been proved. Under Sasania's rule, capital music was developed by a famous poet of the palace named Barbad, who is remembered in many documents. He may have created the harp and the musical tradition that turned into forms of dastgah and maqam. He has been credited for organizing a music system consisting of seven "royal modes" ( xosrov? Ni ), 30 derivative modes ( nav? ), and a melody of 360 ( d? st? n ).

Iranian academic classical music, in addition to preserving the type of melody associated with Sasanian musicians, is based on sonic aesthetic theory as described by people such as Iranian music theorists in the early centuries after the conquest of Muslim Sasanian Empire, especially Avicenna, Farabi, Qotb- ed-Din Shirazi, and Safi-ed-Din Urmawi. It is also directly related to the music of the 16th-18th century Safavid Empire. Under the reign of the nineteenth-century Qajar dynasty, classical melodic types developed, in addition to the introduction of modern technology and the principles of the West. Mirza Abdollah, a distinguished tar and sharpen teacher and one of the most respected musicians in the late Qajar court, is considered a major influence on teaching Iranian classical music in conservatories and contemporary Iranian universities. Radif, a repertoire he developed in the 19th century, is the oldest documented version of the seven dastgah system, and is considered a rearrangement of the older 12 maqam system. During the late Qajar and early Pahlavi periods, many musical compositions were produced in classical Iranian fashion parameters, and many of which involved the harmony of western music.

The introduction and popularity of Western music influences in the early contemporary era was criticized by traditionalists, who felt that traditional music became threatened. It was before the 1950s that the Iranian music industry was dominated by classical musicians. In 1968, Dariush Safvat and Nur-Ali Borumand helped set up an institution called the Iranian Center for Preservation and Music Support, with the help of Reza Ghotbi, director of National Radio Iran & Television, an act credited with storing traditional music in the 1970s.

"Radif Iranian music" was formally written on UNESCO's Register of Intangible Cultural Heritage of the Year in 2009, described as "the traditional repertoire of Iranian classical music".

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Characteristics

The classical music of Iranian art relies on improvisation and composition, and is based on a series of modal and tone scales. The compositions can vary greatly from start to finish, usually back and forth between low contemplative pieces and musical athletic performances called