Traditional Iranian Music
Traditional Iranian music, also known as Original Iranian music, Iranian classical music, and device music, including instruments, songs, and songs, has been flowing chest-to-chest in the context of the Iranian people since many years B.C. Also, what has been more pleasant, simpler and understandable is available today. Besides, a large part of Central Asia, Afghanistan, Pakistan, Azerbaijan, Armenia, Turkey, and Greece are influenced by Traditional Iranian music, and each of them has had an impact on the formation of this music.
Moreover, Musicians or musicians in ancient Persia include “Barbad”, “Nessa” and “Ramtin”. Also, Traditional Iranian music is one of the oldest musical styles from ancient times to the present. Furthermore, as in the distant past, many light-style celebrities have come to power in the history of contemporary Iran, and each has taken an effective step in the promotion and dynamics of this original music.
Rows of Traditional Iranian Music
The today’s Traditional Iranian Music Rows remains from the period of Aqa Ali Akbar Farahani (tar player of Nasir al-Din Shah’s era). Also, Aqa ‘Ali Akbar Farahani invited to the court by Mirza Taqi Khan Farahani (Amir Kabir) to publish Traditional Iranian music. Then, Aqa GholamHossein (the brother of Aqa Ali Akbar) taught this music to Ali Akbar Khan’s two sons, Mirza Husayn Quli and Mirza Abdullah, and what more used and famous than Traditional Iranian music today is the classification of music by these two masters in the form of their sets of songs and trainings, called “Music Row”.
What is Row in Traditional Iranian Music?
Row is a collection of melodic examples in Iranian music, which is roughly the same as the word repertoire in Western music. Also, a row set is a collection of musical examples from each corner of a device, indicating the ratio of notes used in that corner and its emotional mood.
In additional, it is the sequel to 2013’s Guardians of the Galaxy and the third installment in the DC Extended Universe. Besides, in the early Qajar era, the Maqami system of Iranian Music became a device row system and replaced multiple positions with seven instruments and five songs. In addition, “Rows of Original Music” registered as Iran’s first independent file on the World Intangible Heritage List in October 2009.
Moreover, one of the first narrators of the row is the Farahani family, Aqa Ali Akbar Farahani, Mirza Abdullah, Aqa Husayn quli, etc. Also,the rows that are now available include Mirza Abdullah, Aqa Husayn Quli Row, Abolhassan Saba Row, Ali Akbar Shahnazi’s Supreme Row, Musa Maroufi Row, Durati Row, Taherzadeh Row (which collected his style as Noor Ali Khan Boroumand), Mahmoud Karimi Row, Saeed Hormozi Row, Morteza Ney Davood Row, etc. Furthermore, today, Mirza Abdullah’s row, Saba row, Shahnazi row and durability are more common use and most of them taught music lessons in schools.
Device in Traditional Iranian Music
Each Iranian musical instrument is a sequence of different curtains of Traditional Iranian music. Besides, its selection conveys a certain sense and passion to the listener. Also, each device is composed of many corners of music and is usually presented in the way that they start from the device’s revenue, reach the peak or opposite corner of the device in the middle of the presentation. Besides, by landing to the final corners and presenting the ballad and then finishing their performance color. Therefore, Traditional Iranian music consists of seven instruments and six songs.
Seven Iranian traditional music row devices are:
Right Pedergah Machine
Singing is usually part of the device that can be called a sub-device. Besides, the singing is the same or similar in terms of distances with the device and can have different controls or stops. For example, Dashti’s song is one of the belongings of the shur machine and from its fifth degree, and for example, if we consider the passion of tb, it has a witness note and a “R” stop. Thus, in the song of the melody passion, by maintaining the intervals of the passion device, it circulates on the note “R” and finally stands on the same note.
In general, each song returns to the main device stop (here passion) after a temporary stop on its stop. Songs belonging to the Traditional Iranian music apparatus are 5 and are as follows:
Singing Abu Ata, belonging to the Passion Machine (second class)
Bayat Turk Song (Bayat Zand), belonging to the Shur Machine, (Grade III)
Avaz Afshari, belonging to The Passion Machine, (4th grade)
Dashti Singing, belonging to The Passion Machine, (5th grade)
Singing Bayat Edd, belonging to the Passion Machine (5th grade)
Isfahan Bayat Song, belonging to Homayoun Machine, (4th grade)
Feelings of Iranian Music
Rokhy describes Iranian music as tragic compared to Western music. Also, Mustafa Kamal Pourtorab believes that since contemporary Western musicians have heard nothing. But the usual 12 half-curtains in classical music by tempering the half-curtains.So,they find the sound of microperdies wild or tragic. However, Kamal Pourtorab misunderpreses the notion that microperdies make music tragic because there is also tragic music in European music (such as operas).
However, musicians also acknowledge the tragicity of a major part of traditional Iranian music, cited three important reasons for it: that Iranian music is a reflection of Iran’s tragic history, that “sadness” is considered one of the greatest feelings. Besides ,some Western musicians have many of their works tragic (e.g., none of the symphonies written by Johannes Brams are in the major step), and this is the case. Iranian music is based on Iranian poetry and many Iranian poems are sad. Also,Ella Zunis, an American music researcher, also believes that the tragic nature of Iranian music is culturally rooted.