An Introduction to Traditional Iranian Music

Iranian traditional music dates back to periods before the Common Era and has been transmitted orally from generation to generation. Over time, only the pieces that resonated most with the public have survived, evolving into the forms we know today. In ancient Iran, three main types of music were prevalent: ceremonial or religious music, courtly or festive music, and martial music.

General Definition of Traditional Music
The popularity of music in Iran can be traced back to the migration of the Aryans to the region. Archeological discoveries indicate that Khania—the term for music—has existed in Iran for thousands of years. One of the earliest Iranian instruments, the Barbat, is believed to have been created around 800 BCE.

During the Achaemenid period, Iranian music was used in religious ceremonies as well as in official courts. The terms Khania and Khania-gari (musicianship) became common during the Sassanid era. Barbad, one of the earliest composers in the Middle East, created one of the first musical frameworks called Khosravani.

Traditional music refers to compositions derived from culture and customs, refined over time, and reaching their contemporary forms today. Both Iranian traditional and local (folk) music fall under this classification.

Geographical Influence of Iranian Traditional Music
While this music originated in Iran, it has influenced musical traditions in Central Asia, Afghanistan, Pakistan, Azerbaijan, Armenia, Turkey, and Greece.

Introduction to the Systems (Dastgahs) of Traditional Music

The Setar
Iranian traditional music, also known as classical or Dastgah music, encompasses Dastgahs (musical modes), melodies, and vocal compositions. From millennia before the Common Era to today, music has been passed down orally, and those pieces that were most captivating and comprehensible remain accessible.

Dastgah-e Shur
This mode is central to Iranian music, forming the basis for many compositions such as Tasnif (songs), Chaharmezrab (instrumental pieces), and regional folk songs.

• Sub-modes (Gushehs): Kershmeh, Naghmeh, Hozin, Zir-Kesh, Salmak, Abu Ata Bozorg, Majles Afroz, Do-Bayti, Razavi, Shahnaz, Masnavi, Bayat-e Kurd, Zarbo-Osul, Shahrashub.

• Associated Vocal Styles (Avaz): Abu Ata, Bayat-e Turk, Afshari, Dashti, Bayat-e Kurd.

• Example Piece: Yade Ayam – Composer: Dariush Pirniakan; Singer: Mohammad-Reza Shajarian.

Dastgah-e Segah
One of the oldest Iranian modes, Segah is particularly suited for expressing sorrow and melancholy.

• Sub-modes (Gushehs): Daramad-e Segah, Zang-e Shotor, Joghnaei, Kershmeh, Shah Khatayi, Masnavi, Zabol, Nafir, Masihi, Mouyeh, Basteh Negar, Mokhalef, Naghmeh, Hozin.

• Vocal Style: Segah is known as a profoundly sorrowful mode, described by Ruhollah Khaleghi as "a reminder of the sufferings of Iranian ancestors." Afshari is related in intervals but remains independent in the traditional repertoire.

• Example Piece: Resvaye Zamaneh – Composer: Homayoun Khorram; Singer: Alireza Ghorbani.

Dastgah-e Chahargah
This mode is energizing and traditionally recommended for early risers to boost morning vitality.

• Gushehs: Daramad, Pish Zanguleh, Naghmeh, Kershmeh, Mouyeh, Zang-e Shotor, Zabol, Basteh Negar, Forood, Hesar, Mokhalef, Haji Hasani, Maghloob, Naghmeh, Hozin, Haddi, Pahlavi, Raghz, Mansouri, Lazgi, Matn va Hashiyeh, Rang-e Shahrashub.

• Avaz: Generally vibrant and majestic, suitable for epic-style compositions.

• Example Piece: Salam – performed in Ali-Zadeh’s Sobhgahi album.

Dastgah-e Homayoun
Characterized by a majestic and melancholic aura, Homayoun evokes deep emotion and nobility. Many lullabies and regional melodies in Iran are performed in this mode.

• Gushehs: Chakavak, Bidad, Ney Davood, Eshghaq, Bavi, Abolchab, Ravandi, Moreh, Leyli va Majnoon, Tarz, Nowruz Arabi, Nafir, Farang, Zabol, Bayat-e Ajam, etc.

• Avaz: Shushtari and Bayat-e Esfahan are linked to this mode. Khaleghi described Homayoun as "magnificent, calm, enchanting, and beautiful."

• Example Piece: Havaye Geryeh – Composer: Mohammad Javad Zarabian; Singer: Homayoun Shajarian.

Dastgah-e Mahur
Mahur is lively, joyful, and exudes life-affirming energy, unlike the melancholic Homayoun.

• Gushehs: Daramad, Goshayesh, Moghadameh Dad, Dad, Majles Afroz, Delkash, Khosravani, Khavaran, Tarab Angiz, Nishaburk, Tousi, Moradkhani, Fili, Hesar-e Mahur, Zirafkand, Neyriz, Shekasteh, Iraq, Hozin, Kershmeh, Zanguleh, Rock Hendi, Rock Kashmir, Rock Abdullah, Kershmeh Rock, Safir Rock, Masnavi, Saaqi Nameh.

• Avaz: Mahur conveys courage, happiness, and hope; it can be elevated with poetry to convey grandeur.

• Example Piece: Morgh-e Sahar – Composer: Morteza Ney Davood; Singer: Mohammad-Reza Shajarian.

Dastgah-e Nava
Nava balances between joy and melancholy, with a mystical and deep character.

• Gushehs: Daramadhas, Kershmeh, Gardaniyeh, Bayat-e Raje, Eshghaq, Mahir, Hozin, Zanguleh, Nahoft, Goosht, Eshiran, Nishaburk, Iraq, Majlesi, Khajesteh, Hosseini, Buslik, Rahavi, Masihi, Naqous, Neyriz.

• Avaz: Considered related to Dashti in modal classification, but with a unique peaceful and spiritual character.

• Example Piece: Cherā Rafti? – Composer: Tahmoures Pournazeri; Singer: Homayoun Shajarian.

Dastgah-e Rast-Panjgah
A lesser-known mode, similar to Mahur but with distinct phrasing, cadences, and resting notes.

• Gushehs: Daramad, Zang-e Shotor or Naqous, Zanguleh, Naghmeh, Khosravani, Rooh Afza, Parvaneh, Panjgah, Eshghaq, Neyriz, Zabol, Bayat-e Ajam, Bahr-e Noor, Qercheh, Mansouri, Mebragh, Tarz, Sepehr, Iraq, Mohir, Ashur Avand, Esfahank, Hozin, Shushtari Gardan, Nowruz Arabi, Nowruz Saba, Nowruz Khara, Nafir, Farang, Abolchap, Ravandi, Leyli va Majnoon, Tarz, Mavarolnahr, Rock Abdullah, Rock Hendi, Forood, Neyriz-e Saghir, Neyriz-e Kabir.

• Example Piece: Saman-e Buyan – Composer: Keyhan Kalhor; Singer: Mohammad-Reza Shajarian.

Conclusion
Iranian traditional music, encompassing modes, melodies, and vocal styles, has been transmitted orally for thousands of years. In ancient Iran, music held the highest cultural and spiritual status, considered the "voice of God." This article has provided an overview of authentic Iranian music and introduced its main modes, sub-modes, and exemplary compositions.