IR on Music Theory Print

Iranian alternative rock

Mon, 01 Jan 0001 00:00:00 +0000

History#

After the Iranian Revolution, rock music became illegal. After Iran-Iraq War, the youth needed some music to protest. In the following years, groups such as Kiosk, Ahoora and O-Hum provided important effects in this style. “Jurassic Park Coalition” is the best-known alternative rock Iranian song released by Kiosk Group. Alternative rock music is not yet recognized in Iran, so the groups that work in this genre continue to operate underground.

Iranian folk music

Mon, 01 Jan 0001 00:00:00 +0000

Introduction#

Folkloric items, such as folk-tales, riddles, songs, and everyday-life narratives, were collected through the discovery and translation of the Avesta, that is a collection of ancient Iranian religious texts. In classical Iran, minstrels (gusans ; ) had a prominent role in the society. They performed for their audiences at royal courts and in public theaters. The modal concepts in Iranian folk music are linked to those of the country’s classical music. Many of Iran’s folk songs have the potential of being adapted into major or minor tonalities, and Iranian singers of both classical and folk music may improvise the lyric and the melody within the appropriate musical mode. Experiments and influences from Iran’s folk music have been incorporated into the musical appearance of tasnif, that is a type of vocal composition in Iranian classical music. Composers of the late 19th and early 20th centuries used the folk music of their native countries as a source of inspiration for their compositions. Iranian folk songs were incorporated into musical compositions that were produced within the parameters of classical Iranian modes, combined with western musical harmonies. The poetic meter of do-baytī (“two-couplet”), often sung in the Iranian vocal mode of avaz (music) , is closely associated with Iranian folk tunes. Ru howzi, a musical comedy in Iran’s traditional theater, involves loose paraphrases of stories from Iranian folklore and classical literature that are already known to the audience. The stories contain funny remarks that are improvised and indicate social and cultural concepts. Traditionally, ru howzi was performed on stages made of boards that were covered with rugs and were put on a small pool () in the courtyard. Musical instruments of various sorts are used in Iran’s traditional music, some of which belong to specific groups. Three types of instruments are common to all parts of the country, namely sorna (karnay, zurna), ney (flute), and a doubleheader drum called dohol.

Iranian hip-hop

Mon, 01 Jan 0001 00:00:00 +0000

History#

Hip hop emerged within Iran in the late 1990s, when a few Iranians started translating American gangsta rap into Persian and spread recordings of these songs on the internet. A little later these individuals would start writing their own lyrics and experimented with producing original tracks. Iranian hip hop originates from the country’s capital Tehran, although a number of experimental works were recorded earlier by diasporan Iranian musicians, particularly in Los Angeles. In the early 2000s, rap music did not enjoy huge popularity yet within Iran and the emerging hip hop scene consisted of a relatively small community of artists based in several Iranian cities. On several occasions, recording studios have been shut down, websites have been blocked, and artists have been arrested. During the Green Movement that erupted after Mahmoud Ahmadinejad’s disputed 2009 re-election, a widespread crackdown on artistic expression occurred that targeted those who had participated in or supported the protests. Many rappers have since emigrated from Iran. Hip hop dance is also present in underground movements, with few performances having received limited permission.

Iranian jazz

Mon, 01 Jan 0001 00:00:00 +0000

Early years#

Jazz music emerged in Iran along with the development of western influences into the pop music. One of the pioneers of jazz music in Iran was Alfred Lazaryan, a little-known singer and dancer whose first recorded song made a hit on the Iranian national radio. However, Lazaryan soon gave up singing.

After the 1979 Revolution#

A music group named Ejazz performed the first officially sanctioned jazz music concert in post-revolutionary Iran. They produced jazz fusion, incorporating elements from the indigenous classical music. combines classical Persian poetry with modern jazz and blues. She has established a model to the jazz fusion project that she continues to incorporate in her work. Her best-known work, Drunk With Love, is based on a poem by prominent 13th-century Persian poet Rumi. Pallett, a similarly successful band that was formed in 2009, composes jazz fusion of clarinet, cello, and double bass.

Iranian pop music

Mon, 01 Jan 0001 00:00:00 +0000

Early Iranian popular music#

Following the invention of radio in 1930, and after World War II, a form of popular music emerged and began to develop in Iran.

1950s–70s#

Prior to the 1950s, Iran’s music industry was dominated by traditional singers. He was one of Iran’s first musicians to perform with a guitar. Some of Iran’s classical pop artists include Hayedeh, Mahasti, Andy, Aref, Dariush, Ebi, Faramarz Aslani, Farhad, Fereydun Farrokhzad, Giti Pashaei, Googoosh, Hassan Shamaizadeh, Homeyra, Leila Forouhar, Nooshafarin, Shahram Shabpareh, Varoujan, shohreh solati, and Bijan Mortazavi. File:HayedehRohani.jpg Hayedeh and Anoushirvan rohani on the Iranian National Television, in 1975. File:LoghmanAdhamiMAminiNaserEftetahMahmoudRahmanipourHiydeh.jpg Hayedeh, Loghman Adhami, and other musicians at a concert, in the 1970s File:Bigharar-googoosh.jpg Googoosh on an old music cover. File:Farhad Mehrad.jpg Farhad Mehrad in the 1970s. File:Fereydoun Farrokhzad - Zan-e Rooz, Issue 303 - 16 January 1971 (01).jpg Fereydun Farrokhzad on an old magazine.

Iranian rock

Mon, 01 Jan 0001 00:00:00 +0000

Early years#

Rock music was introduced in Iran by the 1960s, together with the arrival of other Western musical genres in the country’s music industry. Iranian rock music was developed by the emergence of artists such as Farhad Mehrad, Kourosh Yaghmaei, The Dangers and Scorpio . It soon grew as a popular musical genre among the young generation, especially at the nightclubs of Tehran and Abadan.

Couchini Restaurant#

The origin of many Iranian rock artists, including Farhad and the Black Cats, is Couchini Restaurant. The restaurant was founded by Vida Ghahremani in the early 1960s. Farhad Mehrad played the piano at this restaurant and was the lead singer of the Black Cats group. He also sings the songs of Ray Charles. The Americans in that area had given Farhad the nickname “Ray Charles of Iran”. Ebi also performed his first performance at Couchini Restaurant. After the Black Cats became famous, they no longer performed at the restaurant. That’s why other groups like Scorpio replaced them. In general, Couchini Restaurant was the most important place to cultivate Iranian rock music.

Iraqi maqam

Mon, 01 Jan 0001 00:00:00 +0000

Famous maqam singers#

There are many Iraqi maqam singers including: * Ahmed al-Zaidan * Rashid al-Qundarchi * Muhammad al-Qubanchi * Hussein al-A’dhami * Najm al-Shaykhli * Hassan Khaiwka * Hashim al-Rejab * Yousuf Omar * Farida Mohammad Ali * Abd al-Rahman Khader * Hamed al-Sa‘di * Nazem Al-Ghazali * Filfel Gourgy * Affifa Iskandar * Mulla Hasan al-Babujachi * Rahmat Allah Shiltagh * Khalil Rabbaz * Rahmain Niftar * Rubin Rajwan * Mulla Uthman al-Mawsili * Jamil al-Baghdadi * Salman Moshe * Yusuf Huresh * Abbas Kambir * Farida al-A‘dhami *Maeda Nazhat

Irish fiddle

Mon, 01 Jan 0001 00:00:00 +0000

Contemporary performers#

Modern performers include: Liz Carroll (All-Ireland Junior and Senior Fiddle Champion); John Carty; Brian Conway; Matt Cranitch; Desi Donnelly; Martin Fay; Frankie Gavin; Cathal Hayden; Kevin Burke; Martin Hayes; Eileen Ivers (9-time All-Ireland Fiddle Champion); Seán Keane (fiddler); Mairéad Ní Mhaonaigh; Maurice Lennon; Andy McGann; Sean McGuire; Dónal O’Connor; Brendan Mulvihill; Gerry O’Connor; Caoimhín Ó Raghallaigh; Tommy Peoples; Bridget Regan; Marie Reilly; Paul Shaughnessy; Sean Smyth; John Sheahan; Fergal Scahill. Sligo fiddlers like James Morrison and Michael Coleman did much to popularise Irish music in the United States in the 1920s. More recently Michael Gorman was also a huge influence. Donegal fiddler John Doherty came from a large family of fiddlers. He travelled all over Ireland, developing an encyclopedic knowledge of fiddle tunes. He was one of the last of the travelling fiddlers. He had a large body of knowledge of Scottish (especially marches and highlands) music as well.

Irish rap

Mon, 01 Jan 0001 00:00:00 +0000

Alt rap#

Alt rap (a.k.a. alternative hip-hop) is a subgenre of hip-hop that does not conform to traditional hip-hop genres but instead blurs genres together. Alt rap first came on the scene in late 1980s when artists such as De La Soul, A Tribe Called Quest and The Pharcyde began combining existing genres of hip-hop to create music with an undefined genre, but mainly hip-hop influence. This is the most commercially successful out of all the Irish rap genres.

Irish rebel song

Mon, 01 Jan 0001 00:00:00 +0000

History#

The tradition of rebel music in Ireland dates back to the period of English (and later British) crown rule, and it describes historical events in Irish history such as rebellions against the Crown and reinforces the desire for self-determination among the Irish people and the Irish diaspora. Although they have a deep-rooted sense of tradition, rebel songs have nonetheless remained contemporary, and since the end of the Irish Civil War in 1923, the focus has moved onto the nationalist cause in Northern Ireland and the Irish Free State, including support for the Anti-Treaty IRA, the Provisional IRA, the INLA, and Sinn Féin. However, the subject matter is not confined to Irish history, and includes the exploits of the Connolly Column, who fought for the Republican side in the Spanish Civil War, and also Irish Americans who participated in the American Civil War. There are also some songs that express sorrow over war (from a Republican perspective), such as Only our rivers run free, and some have been covered by bands who have modified lyrics to be explicitly anti-war, such as the cover of The Patriot Game by Scottish band The Bluebells. In August 1971, the Irish Independent reported that RTÉ, the Irish state broadcaster, had decided to restrict the broadcasting of an album of Irish rebel songs entitled “Up The Rebels” (featuring the Wolfe Tones), which had been recently re-released by Dolphin Records. A spokesman for RTÉ said that the broadcaster had made the decision not to “play records which could create tension in Northern Ireland”, but assured that the decision would be rescinded once the problems in Northern Ireland had subsided. Over the years, a number of bands have performed “crossover” music, that is, Irish rebel lyrics and instrumentation mixed with other, more pop-oriented styles. Damien Dempsey is known for his pop-influenced rebel ballads, and bands like Beltaine’s Fire and Kneecap combine Rebel music with political hip hop and other genres.

Irish traditional music

Mon, 01 Jan 0001 00:00:00 +0000

Women#

In Irish traditional music, women were historically underrepresented in public performances as instrumentalists. Fiddler Julia Clifford stated that women instrumentalists were rarely seen performing publicly between the establishment of the Irish Free State during 1922 and the late 20th century. She also recalled being the only regular female musician performing in London pub sessions during the 1950s and early 1960s. Some performers, including Clifford, performed in competitions discreetly in order to pursue musical activity. This limited visibility has been linked to the political and social structures in Ireland. In 1932, the Marriage Bar was established requiring women to leave their civil service jobs upon marriage, while the 1937 Irish Constitution emphasized women’s role to stay at home with their family. Cultural standards, influenced in part by the veneration of the Virgin Mary in the early 20th century Irish society, reinforced expectations that women prioritize domestic responsibilities over public artistic careers. Scholars such as Slomanski described women who continued playing music during this period as “tradition bearers”. Despite these challenges, a number of women were active in the tradition before the 1950s, including Elizabeth Crotty, Aggie Whyte, Eleanor Kane Neary, Sarah Makem and Julia Clifford. Patterns of emigration also formed women’s participation. Between the period of 1926 to 1936, more women than men left Ireland, contributing to the spread of Irish Traditional Music abroad. An estimated number of 46,000 women left Ireland while only 30,000 men left. Clifford later received recognition as a leading figure in the Sliabh Luachra music tradition. Her collaboration with Denis Murphy resulted in the 1969 album The Star above the Garter, which has been described as a significant recording of regional Irish music representing Country Kerry. Tunes associated with the pair, such as “Julia Clifford’s Polka” became a part of the repertoire. Her playing style has also been noted for its ornamentation, including subtle pitch variation sometimes referred to as the “C-Supernatural”. From the late 20th century forward, the visibility of women in Irish traditional music increased. In 1984, musicians including Ursula Kennedy, Mary Clare Breathnach, and Seosaimhín Ní Bheaglaoich organized a concert in Dublin featuring exclusively women performers, emphasizing the gender imbalance in public performance spaces. The success of the event led to the formation of the group Macalla, which released the album Mná na hÉireann in 1984. Between 1985 and 1990, nine bands with women musicians were released. Between 1990 and 2000, the numbers increased to forty-six. In 2024, Macalla reunited for a 40th anniversary concert on International Women’s Day in Dublin. The careers of performers such as Julia Clifford and ensembles such as Macalla illustrate the challenges women in Irish Traditional Music have experienced and their continuous contributions.

Iroquois music

Mon, 01 Jan 0001 00:00:00 +0000

Songs#

Social songs vary in length, verses and tempo depending on the song selection of the singers. All dances are done in a counter clockwise direction. A social is run by a “house keeper” or “pusher”. The job of the “house keepers” is to find lead singers and to know which songs that each lead singer knows. Their job also includes finding lead dancers for the upcoming dance. He then goes to the announcer with the information. All dances are introduced in the Iroquois language of the speaker. In some instances, instructions are provided to ensure that dances are carried out properly.