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Abdollâh Sarvar-Ahmadi


Sarvar Ahmadi

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Iranian plateau has always been a center for musical creativity; a kind of creativity which goes back to the centuries before common era. Even in the Islamic period of Iranian culture, the music of this country turned out to be of major importance, and actually became the basis on which many musical systems were founded. From Mauritania to China, even the terminology of maqams, sho’ab (pl. of sho’beh) and avazes were originally based on Persian.

From the 2nd century after Hijrah, a period during which maqams established themselves in the music of Iran, Khorasan became on of the most important regions for its theoretical and practical developments. Numerous eminent authors like Ali-Farabi and Ibn-e Sina (Avicenna), Banai heravi, Khwajah Kalan Khorasani and Mahmud al-Hoseyn al-Heravi all came from this province.
Early years of 13th century after Hijrah witnessed the obsolescence of 12 maqams, 24 sho’beh and 6 avazes and the coming forward of a totally different system that entailed 7 dastgahs and 6 avazes. However, in many regions - the most remarkable of them Khorasan - the old style of performance continued to live on and maintained even the system of fretting. This is a fact that worths considering.
Reginos of this area called Jam and Buzgan (Buzjan) are of the main centers for thinkers and artists, both very close to Heart. Abu al-Vafa Buzjani and Ahmad Jami, Purbaha and Abdol-Rahman Jami either cultivated or resided here. They were the sources of numerous cultural trends which developed in the region.

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