Examines the music of Iran in its historical and social contexts from the Timurid period up until the end of the Qajar period (15th to early 20th centuries)
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Based on primary sources, including new discoveries of various documents ranging from musical treatises to song-text collections, travel accounts, biographies, musicians’ diaries and interviews, musical notations, paintings, photographs and early recordings
Examines many aspects of music making during this period, incuding centres of musical patronage, the role of patrons, music theorists, music treatises, the social organisation of musicians, courtesan and concubine culture, and performance contexts
Sheds light on the historical link between Persian music and the music of neighbouring regions – such as the Azeri mugam, Iraqi maqām, Tajik-Uzbek shashmaqom and the Uyghur on ikki muqam
Discusses a diverse range of cases from Timurid, Safavid, Zand and Qajar periods
Music Making in Iranfrom the 15th to the Early 20th Century looks at the change and evolution of music in Iran from both social and theoretical perspectives. Amir Hosein Pourjavady scrutinises the emergence and development of modal entities, rules for modulation, the formation of court repertoires, the progress of rhythmic structures, vocal and instrumental genres and forms of composition. Through this lens, Hosein investigates how Iranian music has been impacted by Western influence, socio-political developments and contact with other musical cultures.
List of IllustrationsList of TablesNote on Transliteration and TranslationAcknowledgementsPreface
Part I Historical and Social Contexts
1 Centres of Musical Patronage between the Fifteenth and Eighteenth Centuries
2 Courtesans and Concubines in Early Modern Iran 3 Musical Life in the Nineteenth Century Part II Music Theories and Practices 4 The Modal System 5 Rhythm 6 Musical Genres Appendix 1: The Systematist Texts Appendix 2: The Non-Sytematist Texts Appendix 3: An Account of the Modal System and Rhythmic Cycles in Non-Systematist Treatises
This book is a remarkable offering which bridges the divides between historical texts and modern practice, and between west, central and south Asian musical worlds with unflaggingly erudite and impressive scholarship.
Amir Hosein Pourjavady earned his Ph.D. in ethnomusicology from CUNY, Graduate Center where he studied with Stephen Blum. He taught at the University of Tehran as well as UCLA for many years. His publications include the edition of several musical treatises, numerous articles, encyclopedia entries, book reviews and CDs. Dr. Pourjavady is also an accomplished Persian setār player and has performed widely with celebrated Iranian musicians.
