Traditional Hierarchies of Music Authenticity and Value in Iran

The point of a particular work of music often depends on the music genre and its relationship to music concept. The academic Authentic Persian Music (Musiq-i-Asil) is strongly based on the theories of sound aesthetics as explained by Farabi and Shirazi in the early centuries of Islam. It also preserves melodic formula that is often credited to the artists of the Persian imperial court of Khosroe Parviz in the Sassanid era. Dastgah is the music of those who have a greater share of, or affect to be in possession of, refined taste and high culture and as such, in spite of its present popularity, has always been the preserve of the top. Though, the influence of Dastgah cannot be underestimated as it is seen as the reservoir of genuineness that other forms of musical genres originate melodic and performance ideas and inspiration.

Other genres of respectable music were not as soundly based in abstract concept, but from a practical point of view were useful. To this orchestra, belongs the martial music of Persia (Musiqi Razmi), whose roots has been traced back to the Parthian era, as shown by Roman sources. This form of music has recently been almost completely replaced by European forms ever since the innovation of the armed forces.

This type of music with large drums, brass and reed instruments was used not only at the war but also in official and grave occasions. The Naqareh Khaneh or the house of drum, the chief exponent of this kind of music survived into the Qajar era but by this period much of the professional, adopted during the Safavid era had disappeared. The only trace of this form of music in a much simplified form is the music of the Zurkhaneh, the folk martial arts of Iran, where the exercises of champions (Pahlavan, literally Parthians) is regulated by a drummer / vocalist known as the Murshid.

Religious music as a class for music is not a musicological same genre. The Shiite passion plays that are representing the martyrdom of Imam Hussein have its early stages in the martial music of Iran. Similarly Sufi music, though having set traditions of its own such as the use of the mystical instrument daf and a set collection of librettos in Persian mythical music, is nevertheless possibly closest to Dastgah but enjoys a greater freedom of composition and is rhythmically more cultured.

The reading of the Koran is not considered music by Muslims, but something more inspiring. Similarly, religious liturgy or Noheh is a group of improvised song, but is never discussed in musical terms.

Famous music though occupies low ebb in the rungs of respectability with the exception of traditional music that plays a significant role in the daily life of local Iranians. Some of the most beautiful music composed in Iran is remembered in the folk songs in Kuedistan and Khorasan for instance. Unlike other forms of music that originate from classical Persian music, Folk songs have greatly influenced the Dastgah system, and names like Isfahan and Bayat e Turk show to the local origins of the melodic formulae that motivate Persian Art Musical Tradition.

Musical theatre in the method of Rohozi, whereby the covered pool in the middle of an inner courtyard served as a stage, is considered corrupt by many Iranians. Tansneefs or well-known urban compositions were often put together for the purposes of dance often in all women parties and some of the more famous compositions like Baba Karam and the associated dance is today the height of Persian Kitsch. (Dr Salardini – excerpt from upcoming book).