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

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