Archeological evidence reveals musical instruments that were used in Iran during the Elamite era around 800BCE. Not much is known about Persian music in the ancient world, especially about the music of the Achaemenid Empire. Alexander the Great is said to have witnessed many melodies and instruments upon his invasion, and music played an important role in religious affairs. Music played an important role in the courts of Sassanid kings in the much later Sassanid Empire. Of this period, we know the names of various court musicians like Barbad and the types of various instruments that were used like harps, lutes, flutes, bagpipes and others. Under Sassanid rule, modal music was developed by a highly significant court musician, Barbad, called the khosravani. While today's classical music tradition in Iran bears the same names of some of the modes of that era it is impossible to know if they sound the same because there is no evidence of musical notation from the Sassanid period. Today's traditional Persian music began to develop after the advent of Islam in Iran, in the Medieval era and the creation of today's formal, classical music tradition is directly linked to the music systems of the Safavid Dynasty. Under the later Qajar Dynasty, the classical system was restructured into its present form.
Iranian classical music relies on improvisation and composition and is based on a series of modal scales and tunes which must be memorized. Apprentices and masters, ostad, have a traditional relationship which has declined during the 20th century as music education moved to universities and conservatories. The repertoire consists of more than two hundred short melodic movements called gusheh, which are classified into seven dastgāh or "modes." Two of these modes have secondary modes branching from them called āvāz. Each gusheh and dastgah has an individual name. This whole body is called the Radif of which there are several versions, each in accordance to the teachings of a particular master or ostad.
The Radif:
Dastgah-e Shur (considered the mother of all dastgah)
Avaz-e Dashti
Avaz-e Abu'ata
Avaz-e Bayat-e Tork
Avaz-e Afshari
Dastgah-e Homayoun
Avaz-e Bayat-e Esfahan
Dastgah-e Segah
Dastgah-e Chahargah
Dastgah-e Rastpanjgah
Dastgah-e Mahur
Dastgah-e Nava
Iranian classical music relies on improvisation and composition and is based on a series of modal scales and tunes which must be memorized. Apprentices and masters, ostad, have a traditional relationship which has declined during the 20th century as music education moved to universities and conservatories. The repertoire consists of more than two hundred short melodic movements called gusheh, which are classified into seven dastgāh or "modes." Two of these modes have secondary modes branching from them called āvāz. Each gusheh and dastgah has an individual name. This whole body is called the Radif of which there are several versions, each in accordance to the teachings of a particular master or ostad.
The Radif:
Dastgah-e Shur (considered the mother of all dastgah)
Avaz-e Dashti
Avaz-e Abu'ata
Avaz-e Bayat-e Tork
Avaz-e Afshari
Dastgah-e Homayoun
Avaz-e Bayat-e Esfahan
Dastgah-e Segah
Dastgah-e Chahargah
Dastgah-e Rastpanjgah
Dastgah-e Mahur
Dastgah-e Nava
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