|Posted on March 23, 2010 at 10:46 AM|
The musicians/artists in exile
For many Iranian artists living in exile, there are always the elementsof fear, doubt and self-aggrandizement.
Add to this the great disunity and general lack of solidarity amongst most Iranian people, who have originally never been "informed" (i.e. could be deemed "deficient") with regard to art and culture, either inside or outside the country,and the result is Iranian artists living in exile that have never been able to establish themselves within a powerful, united, and influential community.
Because of insufficient work for many amateur as well as professional musicians outside Iran, and the ghastly music politics inside thecountry, an unpleasant atmosphere has been generated amongst the artists in general, aggravated
by a pervasive disrespect.
A musical picture
Usually speaking, the four main properties of musical sounds are witch; dynamics; tone colour; and last, but not least, duration.
These facts are very important, as they are based on the organization of the sounds in the time continuum, and indeed thus far this has been alogical state of affairs in the eyes of many musical experts.
The story of Persian/Iranian music
There are not sufficient fundamental facts to support Persian music before the infamous foreign invasions mentioned earlier.
Today’s Iranian music has its own offbeat reasons and logical basics. However, it is not based on any scientific
facts or, for lack of a better sentence, does not possess a "Western" logical system as its origin.
The truth is that there are not many historical facts to support Persian music, and its full function in Persian/Iranian society, so it would be safe to state that 90% of what we experience musically in today’s Iran is perhaps not even 200 years old.
Musicians have often presented their own respective esoteric musical interpretations.
This is commonly known as "dast-be-sineh" music (literally: "chest-to-chest" music).
Most of this music is a combination of Arab and Mongolian music. But from around 1924 onwards (as indicated earlier) some educated musicians, upon their return from the West, started to put together a collection of folk music pieces, as well as some more instrumental exercise pieces that today are known as "Radif" or aptly said "National Music".
Iranian/Persian musicians across the ages
Before and during the time of the Qajar dynasty, musicians mainly entertained the feudal lords, land usurpers, and rich government officials.
Musicians were entirely dependent on a very small allowance,and in many cases, even, they only received food and accommodation, and nothing else.
They were usually regarded as a "commodity" deployed to musically entertain foreign guests, and the rich generally, whilst the latter indulged in their private pleasures, during receptions and parties, opium-smoking ceremonies, and other hedonistic pursuits, such as fornication in their "harems".