Persian traditional music or Iranian traditional music, also known as Persian classical music or Iranian classical music, refers to the classical music of Iran (historically 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. 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.
History The history of musical development in Iran dates back thousands of years. Archaeological records attributed to the Elam in the southwest and of Oxus in the northeast, demonstrate musical traditions in prehistoric times.
Little is known about the music of the classical Iranian empires of the Medes, the Achaemenids, and the Parthians. However, an elaborate musical scene is revealed through various fragmentary documents, including those that were observed at the court and in public theaters and those that accompanied religious rituals and battle preparations. Jamshid, a king in Iranian mythology, is credited with the "invention" of music.
The history of Sasanian music is better documented than the earlier periods, and the names of various instruments and court musicians from the reign of the Sasanians have been attested. Under the Sasanian rule, modal music was developed by a poet-musician of the court named Barbad, who is remembered in many documents. He may have invented the lute and the musical tradition that was to transform into the forms of dastgah and maqam. He has been credited to have organized a musical system consisting of seven "royal modes" (xosrovāni), 30 derived modes (navā), and 360 melodies (dāstān). Khosrow II was a great patron of music, and his court musician, Barbad, was said to have developed a musical system with seven modal structures (known as the Royal Modes), thirty derivative modes, and 365 melodies, associated with the days of the week, month and year". Iran's academic classical music, in addition to preserving melody types attributed to Sasanian musicians, is based on the theories of sonic aesthetics as expounded by the likes of Iranian musical theorists in the early centuries of after the Muslim conquest of the Sasanian Empire, most notably Avicenna, Farabi, Qotb-ed-Din Shirazi, and Safi-ed-Din Urmawi. It is also linked directly to the music of the 16th–18th-century Safavid Empire. During the 19th-century Qajar era, the classical melody types were developed, alongside the introduction of modern technologies and principles from the West. Mirza Abdollah, a prominent tar and setar master and one of the most respected musicians of the court of the late Qajar period, is considered a major influence on the teaching of classical Iranian music in Iran's contemporary conservatories and universities. Radif, the repertoire that he developed in the 19th century, is the oldest documented version of the seven dastgah system, and is regarded as a rearrangement of the older 12 maqam system. During the late Qajar and the early Pahlavi eras, numerous musical compositions were produced within the parameters of classical Iranian modes, and many involved western musical harmonies. The introduction and popularity of western musical influences in the early contemporary era was criticized by traditionalists, who felt that traditional music was becoming endangered. It was prior to the 1950s that Iran's music industry was dominated by classical musicians. In 1968, Dariush Safvat and Nur-Ali Borumand helped form an institution called the Center for Preservation and Propagation of Iranian Music, with the help of Reza Ghotbi, director of the National Iranian Radio and Television, an act that is credited with saving traditional music in the 1970s. The "Radif of Iranian music" was officially inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2009, described as "the traditional repertoire of the classical music of Iran".
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