Neoclassical Iranian Music

The Neoclassical Approach in Iranian Music

Until about twenty years ago, the term “Iranian classical music,” within the borders of present-day Iran, referred exclusively to the body of oral heritage from the Qajar period (late eighteenth to early twentieth century). This body of music was essentially based on a collection of predominantly non-metric melodies known as the "Radif", which functioned both as a pedagogical tool and as a model and reference for improvisation in artistic performance.

Among Iranian musicians, the features and aesthetics of this Qajar repertoire - from the modal system of the seven "dastgâh"s to the dominance of the non-metric genre of "sâz o âvâz" (particularly the singing of "ghazal" with instrumental accompaniment) over all metered genres - have long been regarded and presented as the very “essence and identity of Iranian art music since ancient times.”

In recent decades, however, several developments have shaken the foundations of this belief. One of the earliest was the growing and in-depth study of the theoretical treatises of medieval music scholars such as Safi al-Din al-Urmawi (d. 1294) and Abd al-Qadir Maraghi (d. 1435). A number of insightful musicologists came to realize that the descriptions of musical genres and performance practices found in these texts - despite the absence of precise notation, except for a few scattered examples - differ markedly from certain fundamental aspects of Qajar music.

Another important factor has been the move by Iranian musicians and musicologists beyond political boundaries toward broader cultural horizons, leading to encounters with - indeed, more accurately, the heirs of - this wider musical family (the Iran-Arab-Turkish and Central Asian musical traditions). The result of this engagement has been the rediscovery of musical materials that are both familiar and rich, yet largely absent from the Qajar repertoire. This second factor, being rooted in musical practice itself, has played a far more decisive role in this transition.

The cumulative outcome of these inquiries, efforts, and findings over the past two decades has given rise to a tendency among a group of Iranian musicians known as the “neoclassical” movement. Musicians associated with this tendency generally regard the music of the "Maktab-e Montazemiyeh" - particularly at its peak in the 7th to 9th centuries AH - as classical, and they strive to expand both the theoretical and practical boundaries of contemporary Iranian music.

This musical style, which emerged roughly twenty years ago alongside the scholarly recognition of the distinction between pre-Qajar classicism and the later Qajar tradition, seeks on the one hand to revive forgotten works of past centuries and, on the other, to compose new works based on the defining elements of pre-Qajar classicism. The following text outlines the fundamental principles of this approach, particularly in the field of composition within this tendency.

The Neoclassical Style in Iranian Music

The designation “neoclassical” for this style is based on the recognition of the "Montazemiyeh" school (7th to 9th centuries AH / 13th–15th centuries CE) as classical, primarily due to the particular importance of formal aspects of music during this period. Activity in this approach is grounded in the revival of the musical features of that era, combined with a renewed perspective, in order to achieve a contemporary style of Iranian art music composition, as described below.

Within this framework, it is believed that the compositional capacities of present-day Iranian music have long been limited and are now saturated. The neoclassical style identifies these limitations mainly in four areas:

1. form,
2. rhythm,
3. the relationship between text and music, and
4. modulation.

It seeks to overcome these constraints while preserving the identity-forming foundations of Iranian music. The principal guidelines required to achieve this goal are as follows:

1. The creation and presentation of art music independent of commercial considerations (often associated with singer-centeredness, star-making, stage spectacle, etc.). This principle forms the foundation of neoclassical musical activity.

2. Prioritizing music over text and avoiding text-centered composition in vocal works, particularly by refraining from strictly syllabic settings or those derived directly from poetic meters. Instead, a melismatic ("tahrir"-based) approach should be used, alongside vocalizations that sustain melodic vitality.

3. Avoiding the centrality of improvisation or semi-improvisation in performance, whether in non-metric "sâz-o-âvâz", metric instrumental or vocal improvisation, or similar forms. Short improvisational passages may be used at the margins of composed metric works (e.g., as introductions or transitions), but improvisation is not considered the essence of Iranian music in this style.

4. Drawing upon the written heritage of early Iranian-Arab-Turkish music and engaging with neighboring musical cultures (Arabic, Turkish, Tajik–Uzbek) in areas such as rhythm ("iqâ", "usul"), text–music relations, and form:

a) Using historical rhythmic cycles found in treatises or still preserved in neighboring traditions, or creating new cycles based on these principles.
b) Emphasizing form by employing classical forms of the Montazemiyeh school, forms from neighboring traditions, or newly devised forms derived from these principles.

5. Adopting an open modal system, freely utilizing the modal capacities of "dastgâh" music without adherence to fixed conventions, with particular attention to diverse and non-formulaic modulations.

6. Giving preference to contemporary poetry and texts rather than classical poetic sources.

7. Favoring the design of complete concert programs in the form of a structured "nobat" (suite-like sequence), though single pieces are also acceptable.

8. Drawing inspiration from compositional ideas of other cultures, provided they remain compatible with the identity-forming principles of Iranian music.

9. Improving orchestration and expanding the sonic range, with the core ensemble consisting of instruments from the Iranian-Arab-Turkish sphere.

10. The use of innovative polyphonic techniques is permitted, provided they do not conflict with the defining characteristics of Iranian music, though this is not a core principle.

11. Designing and carrying out hybrid, fusion, world music, intercultural dialogue, and similar projects has no place in this style.

12. Heterophony is considered essential in performance; it should be incorporated - even if pre-composed - and recordings should therefore be realized in ensemble settings.

13. Performing the repertoire of pre-Qajar composers and the artistic repertoire of neighboring traditions (particularly with adaptation to Iranian aesthetics) is strongly encouraged alongside composition.

In summary, the neoclassical style is firmly rooted in the elements of Iranian classical music, characterized by clear principles and a purposeful approach, rather than being an experimental movement. Engagement with this style does not preclude activity in other musical genres; however, only works created according to these principles are considered part of the neoclassical style. It is hoped that this approach will gain the support of both musicians and audiences, eventually evolving into a recognized movement and, ultimately, a school within the history of Iranian music.