Iran’s Folk Music Tradition

Iran is home to a rich and vibrant folk music tradition, with a wide variety of styles and instruments. In this blog post, we’ll explore some of the history and characteristics of Iranian folk music.

Introduction

Iran’s folk music tradition is one of the richest in the world. It has been influenced by both East and West, producing a distinctive sound that is uniquely Iranian.

The history of Iranian folk music can be traced back to the ancient Zoroastrian era. Since then, it has been constantly evolving, assimilating elements from other cultures and absorbing new influences.

Iranian folk music is highly diverse, with different regions of the country having their own distinct styles. The most well-known and popular form of Iranian folk music is probably the dastgah style, which originated in the Persian Gulf region.

Other popular styles of Iranian folk music include the chahargah style from Khorasan province, and the bazmandi style from Isfahan province.

Iranian folk music has been significantly influenced by classical Persian music, as well as Turkic and Central Asian musical traditions. In recent years, Western pop and rock music have also begun to exert an influence on Persian folk music.

The History of Iranian Folk Music

Iranian folk music has a long and rich history. Iranians have been making music for centuries, and their music has been influenced by many different cultures. Iranian folk music is often based on storytelling, and it often tells the stories of the Iranian people’s history and culture.

Pre-Islamic Iran

Iranian folk music has been shaped by its three distinct cultures – the indigenous Zoroastrian belief system, the Perso-Islamic religion of the ruling class, and the music and traditions of Central Asia. This can be seen in the variety of instruments used in folk music, as well as the themes addressed in folk songs.

Pre-Islamic Iran was home to a number of different peoples and tribes, each with their own traditions and music. One important type of music was stroke-playing, which was used for both entertainment and religious purposes. Zoroastrianism – the indigenous religion of Iran – also had a significant impact on music, particularly on the use of wind instruments such as the shofar (a horn made from a ram’s horn).

The arrival of Islam in Iran in the 7th century brought with it a new religious tradition, which also had an impact on Iranian music. For example, Persian Sufis (mystics) used music as a means to achieve religious ecstasy. In addition, Islamic calligraphy – which is highly respected in Persian culture – often served as inspiration for musical composition.

The final major influence on Iranian folk music came from Central Asia, particularly Uzbekistan and Afghanistan. This is evident in the popularity of instruments such as the doira (a type of frame drum) and rubab (a lute-like instrument) in Iranian folk music. It is also reflected in the use of Central Asian musical scales and modes.

Post-Islamic Iran

During the 9th century, Iran was ruled by the Samanid Dynasty, one of the earliest indigenous dynasties to rule Iran. The Samanids were known for their patronage of the arts, and under their rule, Iranian music flourished. However, following the fall of the Samanids in 999 AD, Iran entered a period of decline that lasted until the 11th century.

It was not until the reign of the Seljuk Turks in 1055 that Iran began to experience a resurgence in its musical tradition. The Seljuks were great patrons of the arts, and under their rule, Iranian music once again began to flourish. However, this period of prosperity was short-lived, as the Mongols invaded Iran in 1220 and put an end to the Seljuk dynasty.

During the Mongol period, Iranian music experienced another period of decline. However, this decline was not as severe as during the earlier Islamic period, and Iranian music continued to be performed in private homes and at court gatherings. In fact, it was during this time that many of Iran’s most famous musicians and composers lived and worked.

The Mongol period came to an end in 1335 with the rise of the Persian Safavid dynasty. The Safavids were great patrons of Iranian music, and under their rule, Iranian music once again attained a position of prominence in Persian culture. Unfortunately, this period of prosperity came to an end with the Afghan invasion of Persia in 1722.

During the Afghan period, Iranian music experienced yet another decline. However, this decline was not as severe as during previous periods of turmoil, and Iranian music continued to be performed in private homes and at court gatherings. In fact, it was during this time that many of Iran’s most famous musicians and composers lived and worked

The Various Genres of Iranian Folk Music

Iranian folk music is rich and varied, with different regions of the country having their own distinct styles. The most common genres arelahijan, chahargah, tasnif, and dastgah music. Persian folk music often accompanies dance, and has been used as a means of story-telling and communication for centuries.

Dastgah Music

Dastgah music is a form of Iranian folk music which can be traced back to the ancient Persian empire. The word dastgah literally means “mode” or “scale”, and refers to the fact that this type of music is based on specific melodic scales which provide the framework for the composition and improvisation of the pieces.

There are many different dastgahs, each with its own distinct character and atmosphere. The most common dastgahs are:

Chahargah: This dastgah is associated with happiness and celebration, and is often used for wedding ceremonies and other joyful occasions.

Homayoun: This dastgah evokes a sense of tranquility and serenity, and is often used for relaxation or meditation.

Segah: This dastgah is considered to be one of the most powerful and emotional of all the dastgahs, capable of evoking both great joy and great sadness.

Shur: This dastgah is typically used for playful or mischievous pieces, as well as for more serious works that convey a sense of heroism or bravery.

Radif Music

Radif Music is one of the many genres of Iranian folk music. It is based on a collection of melodies which are traditionally passed down from generation to generation. The radif is the core of this genre, and each region has its own version of it. The radif is usually made up of around 300 melodies, which are grouped together into sections called gusheh. Each gusheh contains around 10-15 different melodies. The radif is often performed by two musicians playing the same melody on different instruments, or by a single musician playing all of the parts on one instrument.

One of the most famous exponents of radif music was Mirza Abdollah, who lived in the 19th century. He was a master of the Iranian ney (a type of flute) and developed his own style of playing, which was based on the radif. His nephew, Ali-Akbar Shahnazi, was also a renowned radif musician and composer.

Today, there are many different styles of radif music, depending on the region where it is being played. In recent years, some composers have started to write new pieces based on the radif, giving this traditional genre a modern twist.

Ta’zieh Music

Ta’zieh music is a genre of Iranian folk music that is traditionally performed in mourning processions. The music is based on the ta’zieh, a type of folk play that tells the story of the martyrdom of Imam Hussain, the grandson of the Prophet Muhammad. The music is characterized by its slow, mournful melodies and its use of traditional instruments such as the ney (flute) and the daf (frame drum).

The Instruments of Iranian Folk Music

Iran is a country with a very long and rich history, and its folk music tradition is one of the most important and distinctive parts of its culture. There are many different kinds of folk music in Iran, and each region has its own unique style. The instruments used in Iranian folk music are often very simple, such as the daf (a frame drum) and the ney (a flute).

The Tar

The Tar is a stringed instrument, traditionally used in Persian classical music. It has also been used in folk music of Iran. The Tar has a long neck and a round body. It is usually made of wood, although some modern instruments are made of metal or plastic. The strings of the Tar are made of gut or nylon. The Tar is played with a plectrum (a small, blunt instrument held in the right hand) and the fingers of the left hand.

TheTar is believed to have originated in Persia (now Iran) in the 18th century. It is thought to be related to the Tanbur, another Persian instrument. The Tar was introduced to Europe in the 19th century by travelers and scholars who visited Persia. It soon became popular among classical musicians in Europe, and was used in orchestras and solo performances. Today, the Tar is still played in Iran and other Middle Eastern countries, as well as in Europe and North America.

The Setar

The setar (ستار) is a string instrument used in Iranian folk music. It has a long neck and a small, round body. The setar is most commonly used in the provinces of Khorasan and Mazandaran, although it can be found throughout Iran.

The setar is typically played with the thumb and first two fingers of the right hand, with the fingers plucking the strings. The left hand is used to hold down the strings to change the pitch. The setar traditionally has four strings, although some modern instruments have more.

The Kamancheh

The Kamancheh is a bowed string instrument which is played with a bow. It has a long neck and a small round body. The body of the instrument is usually made from wood, but can also be made from metal or gourd. The instrument has four strings which are tuned to the pitches of a major scale. The Kamancheh is mostly found in Iran, Iraq and Azerbaijan. It is used in various genres of Iranian music, including classical, folk and pop.

The Kamancheh is believed to have originated in Persia (Iran) during the Safavid dynasty (1501-1736). The word “Kamancheh” comes from the Persian word “Kamancha”, which means “little bow”. The Kamancheh was traditionally played by nomadic Iranian peoples, such as the Kurds and the Qashqai. The instrument spread to Iraq and Azerbaijan during the 19th century, where it became an integral part of folk music traditions.

The Kamancheh is played in a sitting position, with the instrument rested on the right thigh of the player. The strings are plucked with the right hand, while the left hand moves the bow across the strings. The player can produce a wide range of sound effects on the Kamancheh, due to its unique design. For example, players can produce bowing techniques such as vibrato and tremolo.

The Influence of Iranian Folk Music

Iranian folk music has been around for centuries and has been a significant part of the country’s culture. The music is often passed down from generation to generation, and it has been known to be very influential. Iranian folk music has had a significant impact on the music of other countries, and it is still very popular today.

Iranian Folk Music in the West

Iran’s music has been significantly influenced by its neighbors throughout history. Iranian folk music has been particularly influential in the music of the Middle East, Central Asia and North Africa, and has also had significant influence on the development of Western music.

Iranian folk music has been present in the United States since the late 19th century, when Iranians began immigrating to America in large numbers. Iranian immigrants initially brought with them traditional folk instruments such as the Tar (a stringed instrument) and the setar (a plucked string instrument), as well as traditional folk songs and dances. Over time, these immigrants began to assimilate into American culture, and their music began to evolve accordingly.

Today, there are a number of American musicians who have been influenced by Iranian folk music, including sitar player David Lindley, banjo player Béla Fleck and violinist Mark O’Connor.

Iranian Folk Music in the East

Iranian folk music has been a huge influence in the music of neighboring countries in the East. For example, the Tajik music of Afghanistan and Central Asia is based on Iranian melodic modes, as well as instruments and ornamentation. In fact, some of the most famous Tajik composers, such as Sadriddin Ayni and Sukhrob Oshidari, were born in Iran and later migrated to Tajikistan. Likewise, Kurdish music has also been deeply influenced by Iranian folk traditions.

In addition to Central Asian and Kurdish music, Iranian folk music has also had a significant impact on the music of Turkey and the Arab world. In Turkey, for instance, the use of Iranian modes can be traced back to the 16th century, when Ottoman musicians began to adopt them into their own musical tradition. Similarly, Arab musicians have long been influenced by Iranian folk music, particularly in the form of Sufi dhikr (Islamic chanting) and tarab (arabic: ???????, meaning “joy” or “bliss”).