Music of Iran

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Figurines playing stringed instruments, excavated at Susa, 3rd millennium BC. Iran National Museum.
Figurines playing stringed instruments, excavated at Susa, 3rd millennium BC. Iran National Museum.

The music of Iran has thousands of years of history dating back to the Neolithic age as attested by the archeological evidence chiefly in Elam, one of the earliest world civilizations in the south western Iran. A distinction needs to be made between the science of Music or Musicology which as a branch of mathematics has always been held in high regards in Iran; as opposed to Music performance, (Tarab, Navakhteh, Tasneef, Taraneh or more recently Muzik) which has had an uneasy and often acrimonious relationship with the religious authorities and, in times of religious revival, with society as a whole.

Contents

[edit] The Position of Music Performance in Iranian Culture

The ambivalence of Iranian culture towards music may be seen in the context of what Darius Shayan has termed cultural schizophrenia: the contradictory nature of the two sources of Iranian culture, ancient Persia and Islam.

In ancient Persia musicians held socially respectable positions. We know that the Elamites and the Achemenians certainly made use of musicians but we can not guess what that music might have been like. During the Parthian era, troubadours or Gosans were highly sought after as entertainers. There are theories in Academia that perhaps the early Dari Poets of Eastern Iran like Roudaki were in fact Gosans.

By the time the Sassanids came to power, the position of the Musicians was so exalted that it is only them, amongst all practitioners of fine arts, whose names have come down to the present in numbers. We may know that Mani was a painter or Burzoe was a literary as well as a medical figure but these names have survived for reasons other than their arts. We may know Farhad was a famous sculptor but only because he had pursued a love affair with the queen. The names of famous musicians, as well as the nature of their fame have come down to us. Amongst the master musicians Barbad, Sarkad, Ramtin and Nakissa there was fierce rivalry during the reign of Khosroe Parveez. Barbad invented the lute and the musical traditions that was to transform into the Maqam tradition and eventually the Dastgah system.

Even after Islam Persian Musicians did not disappear: Zaryab is often credited with being the greatest influence over Andalusian and Spanish music. [1] Farabi and Avicenna were not only musical theorist but adept at the lute and the Ney respectively. However late Medieval and modern Islam viewed music with suspicion. Music weakens reason[citation needed] and dance which is by necessity accompanied by music was seen as lewd.

[edit] Traditional Hierarchies of Authenticity and Value

Musicians playing traditional Iranian classical chamber music.
Musicians playing traditional Iranian classical chamber music.
Taq-e Bostan carving, Women playing harp while the king is hunting, 6th century AD.
Taq-e Bostan carving, Women playing harp while the king is hunting, 6th century AD.

The position of a particular work of Music often depends on the music genre and its relationship to music theory. The academic Persian Classical Tradition (Musiqi Asil or Dastgah) is strongly based on the theories of sonic aesthetics as expounded by the likes of Farabi and Shirazi in the early centuries of Islam. It also preserves melodic formulae that are often attributed to the musicians of the Persian imperial court of Khosroe Parviz in the Sassanid Period. Dastgah is the music of those who have a greater share of, or affect to be in possession of, refined taste and high culture and as such, in spite of its present popularity has always been the preserve of the elite. However the influence of Dastgah can not be underestimated as it is seen as the reservoir of authenticity that other forms of musical genres derive melodic and performance ideas and inspiration.

Other genres of respectable music were those which were perhaps not as soundly based in abstract theory but from a utilitarian point of view were seen as useful. To this group belongs the martial music of Persia (Musiqi Razmi) whose roots go back to the Parthian era, as attested by Roman sources. This form of music has now been almost completely replaced by European forms ever since the modernization of the armed forces. This type of music with large drums, brass and reed instruments was used not only at war but also in official and solemn occasions. The Naqareh Khaneh or the house of drum, the chief exponent of this type of music survived into the Qajar Period but by this time much of the expertise, fostered during the Safavid era, had disappeared. The only trace of this form of music in a much simplified form is the music of the Zurkhaneh, the traditional martial arts of Iran, where the exercises of champions (Pahlavan, literally Parthians) is regulated by a drummer / vocalist known as the Murshid.

Religious music as a category for music is not a musicologically homogeneous genre. The Shiite passion plays depicting the martyrdom of Imam Hussein have its beginnings in the martial music of Iran. Similarly Sufi music, though having set traditions of its own such as the use of the mystical instrument daf and a set compendium of librettos in Persian mystical poetry, is nevertheless perhaps closest to Dastgah music but enjoys a greater freedom of composition and is rhythmically more sophisticated.

The recitation of the Koran is not considered music by Muslims, but something more sublime. Similarly, religious liturgy or Noheh is a category of improvised song, but is never discussed in musical terms.

Popular music however occupies a low ebb in the rungs of respectability with the exception of folk music that plays an important role in the daily life of rural Iranians. Some of the most beautiful music composed in Iran is remembered in the folk songs in Kurdistan and Khorasan for example. Unlike all other form of music which can be considered children of Classical Persian Music, Folk songs have greatly influence the Dastgah system and names such as Isfahan and Bayat e Turk attest to the regional origins of the melodic formulae that underly Persian Art Musical Tradition. this is beast man suck my......f*ck*n b**bs

Musical theatre in the form of Rohozi, whereby the covered pool in the middle of an inner courtyard served as a stage, is considered decadent by many Iranians. Tasneefs or popular urban compositions were often put together for the purposes of dance often in all women parties and some of the more famous compositions like Baba Karam and the accompanying dance is today the height of Persian Kitsch. (Dr Salardini - excerpt from upcoming book)this is so boring ballin..... wel fly high no lie u no this!!!!! baby baby babby

[edit] Iranian classical music

See main article: Musiqi-e assil

Persian classical music goes back a long ways. Musicians like Barbod were legendary in the empire of the Sassanid era.

Until the early 20th century, musiqi-e assil was heard almost entirely at the royal courts of the monarchy. The Qajar dynasty ruled until 1925, with their influence declining since the turn of the century. Musiqi-e assil became a more common past-time for the next few decades, especially after cassettes were introduced in the 1960s. Before the 1979 revolution, Iran produced the singing star Gholam Hossein Banan and instrumentalists like Abolhasan Saba, Ahmad Ebadi, Faramarz Payvar and Hassan Kassai.

This wall painting depicts a scene from a 17th century classical Iranian music ensemble.
This wall painting depicts a scene from a 17th century classical Iranian music ensemble.

The 1979 revolution launched a renaissance in Persian classical music, from which emerged national stars like Parisa, Parviz Meshkatian, Jamshid Andalibi, Kayhan Kalhor, Mohammad Reza Lotfi, Hossein Alizadeh, Shahram Nazeri and, most famously, Mohammad-Reza Shajarian. Though the revolution created classical music's popularity, music and Islam have not always meshed well, and many Iranian conservatives disliked even the simple melodies and lyrics of classical music. The role of women in music was restricted, though they were allowed to continue performing as instrumentalists though not vocalists.

Sound file samples of classical Iranian music:

Notable bands:

[edit] Persian Symphonic Music

Main article: Persian Symphonic Music
Ali Rahbari conducting Jeunesse Musicales de Tehran, 1974
Ali Rahbari conducting Jeunesse Musicales de Tehran, 1974

Persian Symphonic Music has a long history. In fact Opera originated from Persia much before its emergence in Europe. Iranians traditionally performed Tazeeieh, which in many respects resembles the European Opera.[1] The first serious pieces of Persian symphonic music have been composed by Gholma-Reza Minbashian, Gholam-Hossein Minbashian, Aminollah Hossein, Parviz Mahmoud and then Houshang Ostovar, Samin Baghtcheban, Emanuel Melik-Aslanian, Morteza Hannaneh, Hossein Nassehi, Hossein Dehlavi, Ahmad Pejman, Mohammad Taghi Massoudieh, etc.

There are also some growing attempts to combine Persian classical music and western classical music. Davood Azad, a renowned Iranian musician and vocalist, melded Johann Sebastian Bach's music style and Iranian classical music.

Iran's main orchestra include: National Orchestra, Tehran Symphony Orchestra and Perspolis Symphony Orchestra (Nations Orchestra).

Iran is not alien to western classical music either. Many radio stations in Tehran play Mozart's concertos on a daily basis, and many Iranians even make it to world fame and fortune. The late 20th century classical composer Kaikhosru Shapurji Sorabji was of Iranian descent. The best examples of these Iranians are perhaps Shardad Rohani (LA Symphony Orchestra conductor), Lily Afshar (world class classical guitarist and student of Andrés Segovia), Loris Tjeknavorian(principal conductor to the Rudaki Opera House Orchestra in Tehran) [2] , and Hormoz Farhat (Composer, Ethnomusicologist, Music Professor). Moreover, Zubin Mehta, the world-famous classical conductor of the New York Philharmonic Orchestra , is of Iranian ancestry and acted as guest conductor of Tehran Symphony Orchestra.

In 2005, Ali Rahbari, the head of Tehran Symphony Orchestra, performed Beethoven's 9th Symphony in Tehran Vahdat Hall.[3]

Also in 2005, Perspolis Orchestra (Melal Orchestra) played a piece which dates back to 3000 years ago. The notes of this piece of music, which is believed to have belonged to Sumerians and ancient Greeks, were discovered among some ancient inscriptions and after being deciphered by archaeologists, was orchestrated by Siavosh Beizaee for Perspolis Orchestra Symphony. However, as it is demonstrated on ancient reliefs of that era, the instrumentations of such pieces probably comprised wind instruments like horn and pipe. Renowned Iranian musician, Peyman Soltani, conducted the Perspolis orchestra. [2]

[edit] Folk music

Ancient Iranians attached great importance to music and poetry, like today. Post Sassanid era silver plate. 7th century. The British Museum.
Ancient Iranians attached great importance to music and poetry, like today. Post Sassanid era silver plate. 7th century. The British Museum.

Main article: Iranian folk music

The modal concepts in Persian folk music are directly linked with that of the classical music. However, improvisation plays a minor role as folk tunes are characterized by relatively clear-cut melodic and rhythmic properties. The function of each folk melody determines its mood. The varying aesthetic requirements of wedding songs, lullabies, love songs, harvest songs, dance pieces, etc., are met with transparent and appropriate simplicity. The majority of the classical instruments are too elaborate and difficult for the folk musicians. Instead, there are literally dozens of musical instruments of various sorts found among the rural people. In fact, each region of the country can boast instruments peculiar to itself. Three types of instruments, however, are common to all parts of the country. They are, a kind of shawm called Surnay (or Sorna ~ Zorna), the various types of Ney (flute), and the Dohol, a doubleheader drum. A discussion of Persian music must necessarily include the new hybrid of mixed Persian-Western music which is functioning as a popular-commercial music. The use of western popular rhythms, an elementary harmonic superimposition, and relatively large ensembles composed of mostly western instruments, characterize this music. The melodic and modal aspects of these compositions maintain basically Persian elements. On the whole, it would be something of an understatement to say that the artistic merit of such a melange as this is rather questionable. (Prof. Farhat-musicologist Persianartmusic.com)

Iran is home to several ethnic groups, including Kurdish, Azerbaijanis, Bakhtiari and Baluchi peoples. Turkmen epic poets similar to Central Asian musicians are common in Khorasan, while Kurdish music is known for its double-reed duduk and an earthy, dance-oriented sound. The most famous personalities in Iranian folk music are Pari Zangeneh and Sima Bina.

[edit] Kurdistan

The forms of music found in various parts of Kurdistan, all known as Kurdish music, vary depending on the climate and geography of the regions as well as their contact with the neighboring cultures. For example, the melodies found among the people living in the mountains are different from those found among the people living in the meadows. However, the poetry and the rhythms are common to both areas.

Kurdish music, similar to other Eastern music, is monophonic and modal (more specifically, based on the maqam system, which is loosely translated as modal). However, because multiple instruments with varying pitch range, color, and ornamentation capabilities are used to play the same melody, it is also heterophonic. In addition to` specifically Kurdish modes (maqams), Kurdish music also utilizes all the modes and dastgahs found in the traditional music of Iran.

There are two forms of Kurdish music. The first is based on the maqam system. Similar to traditional music of Iran, improvisation plays an important role in Kurdish music. While a maqam is used to designate a certain melodic structure, a musician may improvise within this structure by employing variations on ornamental figures, rhythms, and melodic forms. The maqams of Kurdistan, preserved by oral tradition throughout generations, are based on microtonal tuning systems where one can find intervals of half step, full step, three quarter step, and one and a quarter step. [These intervals are not necessarily in a equal-tempered 24 tone scale.]

The second form of Kurdish music is based on a set of melodies, known as gourani or closed, which have distinct and structured rhythms. The word gourani is derived from gabaran, which literally means "one who worships fire." This word is related to the ancient rituals of fire worship among the Zoroastrians. Through the passage of time gabaran was changed to gouran. Gourani is also the name of a tribe whose members speak Kurdish and are known for their poetry. The members of certain groups of dervishes (Ahle Hagh) in Kermanshah and certain regions of Sanandaj, use this word to refer to the songs performed during their spiritual ceremonies. Because of its distinct rhythm, gourani is often accompanied by other instruments, and in some cases by clapping.

The poems used in most Kurdish music are filled with stories of romance and unrequited love. These poems have often two verses, which are divided in ten, eleven, or twelve syllables, and are based on the Gathas of the Zoroastrians. Kurdish melodies are very simple; their range is usually confined to a few notes. The form of the music is often strophic, and every gourani has a particular melody which is sung with various stanzas. At the end of every stanza the strophe is repeated unchanged throughout the song. Every gourani is characterized by a specific strophe. Similar to a lied or a chanson, gouranis may be accompanied by instrumental sections, which have three parts: prelude, middle section, and the ending. The prelude and the ending are performed by the group, and the middle section is performed in the form of call and response.

Gouranis fall into several categories, each performed with specific melodies for specific occasions. Some examples are work gouranis, shepherd gouranis, romantic gouranis, religious and spiritual gouranis, festive gouranis, Chemari (mourning) gouranis, war gouranis, children gouranis, women gouranis, and Ramadan gouranis.

Before Islam, the "religious and spiritual gouranis" were used by the Kurds in their worship rituals of Ahura Mazda (the wise and supreme god of Zoroastrianism), fire, the sun, and the moon. Within Islam, new gouranis were developed for worship of God and paying tribute to sacred figures. The dervish houre, Azan (special forms of reciting of the Koran), and zekr [also a ritualistic dance performed by the dervishes during devotional ceremonies] are among these types of gouranis. The "festive gouranis", which have strong and exciting rhythms, are used for marriage, circumcision, or holiday celebrations, and are often accompanied by dancing and clapping. The "war gouranis" have moving rhythms and are often used with poems which induce feelings for nationalism and the protection of freedom. "Children gouranis" have very simple rhythms accompany children's poems. "Women gouranis" are sung by women during their everyday chores, such as milking the cows, carrying water from the springs, or picking flowers. "Chemari gouranis", which are sung in the funerals while carrying the dead (especially a young deceased), are accompanied by sorna (a wind instrument) and dohol (a large percussion instrument), and have very sad poems. "Ramadan gouranis" are mostly used during the month of Ramadan to declare the coming of dawn [when people have food before fasting during the day]. Accompanied by sorna and dohol, they are played in elevated regions of cities and villages. (H. Kamkar - master musician www.kereshmeh.com)

Flyer for Masters of Persian Music concert autographed by Shajarian (from left to right: Alizadeh, Shajarian,Kalhor, and Shajarian's son: Homayoun)
Flyer for Masters of Persian Music concert autographed by Shajarian (from left to right: Alizadeh, Shajarian,Kalhor, and Shajarian's son: Homayoun)

[edit] Khorasan

Due to its ethnic diversity and the existence of different languages and religious observations (Sunni and Shi'a), the musical tradition of Khorasan is very rich. From the north to the south, the music scene varies greatly. In the north of Khorasan, one can find the bakhshi narrating and singing, among other things, "dastans" (stories in Turkish), although they can also sing in Kurdish about the historical deeds of local figures. They accompany themselves on the dotar. One can also find in the north, the Asheq who play "dohol" (double-faced drum), the "sorna" (a kind of oboe-like reed instrument) and the "qoshme" (double clarinet made of the central nervure of the plumage of birds tied together). The Asheq are specifically associated with the Kurds and play at wedding dances and village feasts. In the East of Khorasan, near Torbat and Jam, the main instrument is the dotar (with some modifications), but there are no Bakhshi and the music is different. Here, the music takes the form of "ghazal khani'" and is performed by singers of quatrains and "ghazals" - lyric poems based on the invocations of mystic poets like Rumi, Attar and Sheikh Ahmad Jami. Purely instrumental pieces also figure in the repertoire.

More towards the south, in the regions of Birjand and Qa'in, the musical culture changes again: the dotar is no longer present (although it seems that in the past, it was played). The songs are called "sotak" and are accompanied on the "dayereh" (tambourine). (Ameneh Yousefzadeh - Musicologist www.kereshmeh.com)

[edit] Turkmen Music

In Khorasan as in Turkmenistan and Uzbekistan, the word bakhshi means instrumentalist, singer, and storyteller. The origin of the word bakhshi comes from Turkish which in turn comes from a Chinese word po-shih meaning erudite. It was through the Turkish Ouigours that certain elements of Chinese language infiltrated 13th and 14th century Mongol literature). The word bakhshi appeared in Iranian and Turkish literature with the advent of the Mongols. At the time, the role of the bakhshi seems to have been sometimes that of the healing shaman, and at other times that of a Buddhist priest.

As for the bakhshi of Khorasan, they claim that the origin of their name can be found in the word bakhshande (donor, bestower of gifts) because of the musical gift that God has bestowed upon them. This is a title of respect in northern Khorasan and among the Turkmen of Torkaman-Sahra.

The bakhshi can also be found in almost all of Central Asia, among the Kazakh, Kirghiz, Uzbek, and Turkmen people as well as in Afghanistan, Tajik-Arab and in Xinjiang. Among other ethnicities, on the other hand, the term bakhshi, throughout centuries has designated a bard, a story-teller, and singer of legends and epics.

As a singer, the bakhshi is more precisely a narrator of dastan (story) and an instrumentalist who plays the dotar (long-necked two-stringed instrument) and who, in most cases, fabricates his own musical instrument. The majority of the great bards of Khorasan, regardless of their ethnic origin, sing in three languages (Turkish, Persian, and Kurdish). Whether professional or semi-professional, nowadays the bard doesn't usually earn his living solely through playing music. Most often, he is also, for example, a farmer, a barber, or a teacher. With his instrument, the dotar, he usually sings and plays by himself. However, the Turkmen bards prefer to play in groups of two or three. In this case, the bard is accompanied by another dotar player and a person playing the kamanche.

Iran's legendary conductors of 20th century: Ali Rahbari, Farhad Fakhreddini and Loris Tjeknavorian
Iran's legendary conductors of 20th century: Ali Rahbari, Farhad Fakhreddini and Loris Tjeknavorian

The right to assume the title of bakhshi is subject to specific conditions. A bakhshi should not only be a good musician and have a good voice, he also needs excellent diction for telling stories. Ideally, he learns his art from his father or his uncle while living under the family roof. Some acquire their apprenticeship under the tutelage of a master (ostad). The learning process evolves in three stages: 1) learning the dotar technique, 2) learning vocal techniques, 3) memorizing the stories. In the last stage, the master teaches his student a fragment of a dastan on a daily basis, so that he can memorize and recite it the next day. The bakhshi is renowned for his prodigious memory.

Traditionally, the bakhshi plays at village ceremonies such as weddings and circumcisions, but he also performs at private gatherings and in ghahve-khanes (coffee houses) of the bazars. Unfortunately, nowadays, television has taken the place of the traditional bard in the Ghahve-khane. Fortunately, today we can also hear the bakhshi performing in concerts often within the context of festivals. (Ameneh Yousefzadeh www.kereshmeh.com)


[edit] Mazandaran

Main article: Music of Mazandaran

Mazandaran has a diverse folk music culture that includes songs and instrumental and ritual music. Rhythm is usually simple in songs, which include katuli, which is most common around the town of Aliabad-e Katul; the song is sometimes said to be sung when people take a catouli cow out to graze. Because the song was originally sung while walking and working, it often has syllables like jana, hey or aye added, in order to allow the singer to breath while he was working (a work song). Another kind of song is called kaleh haal (or kal kaal or Leili's lover). The term kaleh haal may refer to its shortness of length (kale haal means short present) or to its common wingers, housewives who sang it while cooking with a kaleh, a type of oven. Amiri songs usually use long poems written by Amir Pazevari, a legendary poet from Mazandaran. There is also a type of song called najma which describes the love between Prince Najmedin of the Fars area and a girl named Ranaa. The najma is popular throughout Iran, adapted for the local cultures. The Charvadars are an ancient class of merchants who sold commodities abroad for a local village; their songs are called charvadari. In contrast to most Mazandarani music, charvadari has a prominent rhythm, which may be because it was often sung on horseback.

Ň==Pop music== Main article: Iranian pop music or Persian pop music

Nahan Makon by Alireza Assar, Shahrdad Rohani and London Symphony Orchestra
Nahan Makon by Alireza Assar, Shahrdad Rohani and London Symphony Orchestra

Iran developed its own pop music by the 1970s, using indigenous instruments and forms and adding electric guitar and other imported characteristics; the most popular pop singer of this period was Googoosh. After the Iranian Revolution in 1979, pop music's future seemed so dark because of the new Islamic laws and restrictions. Many Iranians migrated to foreign countries, especially Los Angeles in the United States, and Iranian-in-exile pop stars include (in alphabetical order) Vigen Derderian, Dariush Eghbali, Siavash Ghomeyshi, Hayedeh, Homeirah, Mahasti, Morteza and Sattar.

There are also many newcommers in Persian/Iranian Music who have made huge iStrike-through text90Strike-through textSuperscript textserios ly this is boring.................. yay me what is ur pronlemo?mpression. Below are a list:

Arian Band, Andy Madadian, Moein, Mansour, Sandy Group, Leyla Foroohar, Ebrahim Hamedi (Ebi), Laleh,Farshid Amin, Shahrzad Sepanlou, Arash, Mohammad Esfahani, Alireza Assar, Shadmehr Aghili, Jamshid, Cameron Cartio, Mohammad, Kamran & Hooman, Fereydoun, Shahriar, Nima Nourmohammadi(composer) and much more...

[edit] Bandari music

Bandari is a type of pop music with faded root of southern Iran folk music. Its fast-slow quarter tone rhytms makes it a suitable for folk-style dance, entitled the same, especially in weddings and other celebrations.

[edit] Iranian Rock and Metal Music

Iranian rock is largely underground in Iran.
Iranian rock is largely underground in Iran.
 Visit the Iranian rock page on wikipedia for more information. Rock music in Iran has been influenced by many traditional forms of Iranian music and popular Western rock bands such as Pink Floyd, The Doors, and Dire Straits, and JULIA. The suffused influences continue to merge in creating yet another unique feature in the soundscape of Iranian music.

[edit] Iranian Hip Hop and Rap Music

Iranian Rap is largely underground in Iran and aborad, its very popular amongst the Iranian young adults and teenagers.
Iranian Rap is largely underground in Iran and aborad, its very popular amongst the Iranian young adults and teenagers.
 Visit the Iranian Rap page on wikipedia for more information. The term hip hop (also "hip-hop") refers to a musical and political movement that has developed predominantly over the last quarter-century. Since first emerging in New York City in the seventies, hip-hop has grown to encompass not just music, but an entire lifestyle that consistently incorporates diverse elements of ethnicity, technology and urban life. Iranians gen Xr's have mixed taken elements of the new and the old to create a new chapter in the "Music of Iran".

[edit] Electronic music

Children Music by Soodabeh Salem
Children Music by Soodabeh Salem

Many of the expatriate Iranians in North America and Europe are involved in electronic music. The best known group is the Washington, D.C.-based Deep Dish which consists of Ali "Dubfire" and Shahram.

[edit] Known personalities

  • Deep Dish: (Ali "Dubfire" Shirazi and Shahram Tayebi) Washington DC, USA
  • DJ Behrouz (Behrouz Nazai) San Francisco, USA
  • Low End Specialists (New York City) -The Low End Specialists are NYC based duo Mac Clark and Ali Geramian.
  • Omid 16b (Omid Nourizadeh) London, UK
  • DJ Aligator, Denmark
  • Fred Masaki, Washington DC, USA
  • Amir Baghiri, Germany

[edit] Iranian music in other countries

Iranian music style influenced the music of central Asia.

[edit] Songs

[edit] International recognition of Iranian music

Music of Iran and Iranian musicians have received countless awards in the course of history. Here are some:

2007

2006

  • Grammy Award (nommination), Faryad album, Masters of Persian Music.
  • Grammy Award, Ali Shirazinia, Shahram Tayyebi and Deep Dish.
  • Grammy Award for Best Orchestral Performance (nommination), Persian Trilogy by Behzad Ranjbaran.
  • "Best Middle Eastern Song" & "Best Middle Eastern Album", 2006 JPF Awards: Andy Madadian.
  • "2006 Best International Armenian Album Award" for the 2006 Armenian Music Awards: City of Angels by Andy Madadian.
  • Golden Lioness Award for Best Conductor, The World Academy of Arts, Literature, and Media: Ali Rahbari.
  • Golden Lioness Award for Classic Music Best Soprano Performer, The World Academy of Arts, Literature, and Media: Monika Jalili.

2005

  • Golden Lioness Award for Classical Performance, The World Academy of Arts, Literature, and Media: Shakila.
  • UNESCO music award (Picasso award), nomminee: Mohammad Reza Darvishi.

2003

2001

  • NAV’s best contemporary world music album: Axiom of Choice (band).
  • Best Recombinant World Music Ensemble in 2001 by the LA Weekly Music Awards. (nommination): Axiom of choice band.

2000

1999

  • Picasso Medal, Mohammad Reza Shajarian.
  • Pikanes award, Thailand's most prestigious music award for an outstanding orchestral performance: Shahrdad Rohani.

1977

  • Prestigious Gold Medal at the Besancon International Conductors' Competition, Ali Rahbari.
  • Silver medal in Geneva International Conducting Competition, Ali Rahbari.

Others

  • Rudolf Nissim Award, Behzad Ranjbaran.
  • Grand Prize in the Aspen Music Festival Guitar Competition, Lily Afshar.
  • Top Prize in the Guitar Foundation of America Competition, Lily Afshar.
  • Loris Tjeknavorian, Homayoon Order and Medal for the composition of "Son et Lumiere Persepolis 2500"

[edit] See also

[edit] Sources and Further reading

  • Nelly Caron and Dariush Safvate, "Iran: Traditions Musicales" (Paris, 1966).
  • Nooshin, Laudan. "The Art of Ornament". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 355-362. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0.
  • Nettl, Bruno (1989). Blackfoot Musical Thought: Comparative Perspectives. Ohio: The Kent State University Press. ISBN 0-87338-370-2.
  • Ameneh Youssefzadeh, "Iran’s Regional Musical Traditions in the Twentieth Century: A Historical Overview." Iranian Studies, volume 38, number 3, September 2005.Link

[edit] Notes

  1. ^ Iranian performance of Beethoven's 9th Symphony (BBC Persian)
  2. ^ 3000 Year Old Piece to be Performed at Persepolis
  3. ^ Maestro Shajarian was awarded Mozart Medal.(2007)

[edit] External links

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