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Introduction to Persian Music
Overall, the history of Persian traditional music - like the history of Iran itself - can be divided into two eras, Pre-Islamic and Post-Islamic. Pre- Islam
Under the Achaemenids (550-320 BCE), music served an important function in worship as well as in courtly entertainment. Bas-reliefs from the period clearly represent groups of singers, players of trigonus harps (chang), accompanied by large tambourines, as well as long necked lutes and double-flutes. The first written evidence of Persian music is from the Sassanid Period (226-643 CE). Khosrau II was a great supporter of music, and his most prominent court musician, Barbod, was said to have developed a musical system with seven modal structures (known as the Royal Modes), thirty unoriginal modes, and 365 melodies, associated with the days of the week, month and year. With the arrival of Islam in the 7th century A.D., Persian music, as well as other Persian cultural elements, became an dominant element in what has since become "Islamic civilization". Persian musicians and musicologists extremely dominated the musical life of the Eastern Islamic Empire. Baghdad became the centre of Persian music, and many musicians who were once careful to be Arabs are actually now known to have been Iranians. Farabi (d. 950), Ibn Sina (d. 1037), Razi (d. 1209), Ormavi (d. 1294), Zalzal (d.791), Ziryab, and Maraqhe-e (d. 1432) are a few of the many marvelous Persian musical scholars of the early Islamic period. The 13th Century - Theory and Synthesis In the 13 century, Arab-Persian music theory became largely standardized into what became as the Systematic or Iraqi school (since it developed in the court of Baghdad). The pioneer of this school was Safi Al Din Ormavi (from northwestern Iran) who provided a theoretical synthesis of the many systems of gap and scales proposed before his time. He divided the octave into seventeen notes, giving each note a name. Various just positions of these notes formed the basis of twenty named modes or maqamat, which to this day provide the theoretical basis for all different kinds of Middle Eastern music.
The Mongol Invasion The Mongol invasion of Persia (from 1220), severely changed the socio-political environment of the region. During this period, Shiite theology became established, and Sufism became erfan (gnosis) and penetrated deep into Persian lyrical poetry. The musical style of Araq (western Iran) gradually adopted the structure and emotional language of ghazal (a form of Persian poetry) and poetry became the main source of avaz (vocal section). During the 16th to 17th centuries, Persian music began to follow its own course and deviated from that of its Arabic, Turkish, and Tajik neighbors. Revitalization and Western Influence The 19th century Qajar King Nasser al-Din Shah was a great patron of music. He sponsored many great musicians, among them Mirza Abdollah Farahani who collected and organized the traditions of Persian music to form the basis of contemporary Persian traditional music known as radif. In 1862, a process of Westernization began when, Nasser al-Din Shah ordered the establishment of a military band, such as he had seen in Europe playing overtures, marches, polka, and waltzes. A French musician, Alfred Lemair, was hired to run a traditional ensemble of native shawms, horns, trumpets, and percussion into a Western concert band. He was so successful that by the end of the 19th century, the music school in Tehran taught Western instruments and music theory.
The Islamic Revolution to the Present Soon after the Islamic revolution, institutions teaching Western music were closed, the Tehran Symphony Orchestra was spitted up and, in an attempt to eliminate pop and love songs, and no music at all was permitted on the radio.  هنرمندان موسیقی سنتی و كلاسیك ایرانی |
تاریخچه مختصری از موسیقی فارسی
پیش از اسلام
ورود اسلام با ورود اسلام در قرن هفتم میلادی ، موسیقی ایرانی و نیز دیگر عناصر فرهنگی ایرانی ، بیک عنصر غالب كه درآ ن زمان به "تمدن اسلامی اطلاق میشود" تبدیل شد. موسیقدانهای ایرانی و موزیكولوژی به شدت تحت تاثیر زندگی موسیقایی شرقی امپراتوری اسلامی قرار گرفت . بغداد مرکز موسیقی ایرانی شد و بسیاری از نوازندگان كه سعی بر آن داشتند كه عرب بمانند ولی در آنروزگار ایرانی نسبت داده شدند فارابی ( ۹۵۰ ، ابن سینا ۱۰۳۷ ) ، رازی (۱۲۰۹) اورموی( ۱۲۹۴)زلزل (۷۹۱) ، زریاب ، و مراغه ای (۱۴۳۲) وبرخی دیهر از اعلی ترین محققین موسیقی ایرانی در اوایل دوره اسلامی محسوب میشوند
قرن سیزدهم و تئوری سنتز
حمله مغولان
در دوره صفویه
تجدید حیات ونفوذ غرب قرن نوزدهم شاه قاجار ناصرالدین شاه بزرگترین حامی موسیقی بود . او از موسیقی دانان بزرگ حمایت بسیارنمود ، در میان آنان میرزا عبدالله فراهانی که به جمع آوری و سازماندهی موسیقی سنتی ایرانی پرداخت وموسیقی سنتی معاصر ایرانی را به نام ردیف نامید . در سال ۱۸۶۲ ،دوران زمامداری ناصرالدین شاه روند غربی آغاز شد . او دستور داد یک گروه نظامی به مانند نوازندگان اروپائی كه دیده بود تشكیل شود كه قطعاتی از جمله : پیش در آمد ٫ مارش ٫ رقص لهستانی پولکا و والس مینواختند آهنگسازان ایرانی در خارج از کشوربه تحصیل در رشته آهنگسازی ملی و مدرن پرداختند . مقارن سال ۱۹۷۰ ، ارکستر سمفونیک تهران شامل ۱۰۰نوازنده شد و تالار جدیدی احداث شد كه میزبان هنرمندان بین المللی وشاخه های موسیقی دانشگاهی باشد ، و تلویزیون نیز مروج موسیقی غربی به مردم شد از قبیل موزیك . پاپ ، راک ، جاز ، لاتین و موسیقی آمریکایی كه طرفدار فراوانی بین مردم پدید آورد در این رهگذر صنعت ضبط و نوار کاست توسعه یافت و موسیقی پاپ ایرانی و رومانتیك بااستفاده از هارمونی غربی به بازار عرضه شد
انقلاب اسلامی تا کنون موزیك ویدئو |
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