Important in understanding the dynamics of how Persian music has developed, it is crucial to note that Islam, the official religion of Iran, bears a negative view of music in general. It is said by Ella Zonis, in her book Classical Persian Music, that “ music had come to be associated with revelry licentious conduct (Classical Persian Music p 7.)” Likewise Persian musicians were not entirely respected in an Islamic society. This negative connotation of music, primarily between the sixteenth to the early twentieth century, stifled the growth and development of Persian music.

There is always another side of every coin, and as in most cultures, there did exist a sub- culture who argue and choose not to believe in this same view point. The Sufi’s, a sect of Islam, who conversely believed music was the system by which to be closest to God. An example would be the whirling dervishes, a ceremonial dance that makes a connection to “Heaven on earth; ” accompanied by musicians.

Interestingly enough while the church criticizes music, most Persian music is essentially religious

The form of performing classical music includes five parts performed all in one mode. First the pishdaramad, introduces all the instruments as they play a pattern, represented by letters in the text Excursions in World Music p48, A1A2, B1B2, C1C2, A1A2, D1D2, B1B2, A1A2, C1C2.

After the highlight of the performance, an up- beat song called tasnif proceeds. Again defined by Nettl, “The words are those of a love song....but many tasnif ‘s are about social and political matters and criticize the social system” (Excursions in World Music p 49.)

Performance is very interactive between the audience and musician. The musician observes just as intently as the viewers watch and listen to them demonstrated in a story of bruno nettle visiting exemplifies this phenomena. “ The musician, clearly watching the reactions of his audience and obviously stimulated by it to move gradually into excited and emotional musical utterances” (Excursions in World Music p51.) This quote exemplifies the beauty of improvisation. It is about communication, like how the sufi’s communicate to God. Beyond form, the ultimate seems to reach for something more, and though why Muslim societies may view this very act as indulgent, it may not be a negative act. Indulging in communication with a higher source and one anthers higher self.

A radif is a repertoire of about three hundred songs that teaches a music student how to improvise. Iranian students of music learn the same radif a little different depending on the personal inflection of their teacher.

in spirit.” The text for traditional art music,” explains Zonis, “are most often the mystic poems of Rumi (thirteenth century) and Hafez (fourteenth century) which express basically religious sentiments in such symbols as love and wine” (Classical Persian Music p7.)

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