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Iranian music, as evidenced by the archaeological records of the Fertile Crescent civilization of Elam, the most ancient culture in southwestern Iran, dates back thousands of years. There is a distinction between the science of Music, or Musicology, which, as a branch of mathematics has always been held in high regards in Persia/Iran; as opposed to music performance (Tarab, Navakhteh, Tasneef, Taraneh or more recently Muzik), which has had an uneasy and often acrimonious relationship with the religious authorities and, in times of religious revival, with the society as a whole. ==The history of music construction in Iranian culture== In ancient Iran musicians held socially respectable positions. We know that the Elamites and the Achaemenid Empire certainly made use of musicians but we do not know what that music was like. During the Parthian era, troubadours or Gosans were highly sought after as entertainers. There are theories in Academia that perhaps the early Dari Poets of Eastern Iran like Roudaki were in fact Gosans. The history of musical performance in Sassanid Iran is however better documented than earlier periods. This is especially more evident in the context of Zoroastrian ritual.〔 iv. First millennium C.E. (1) Sasanian music, 224–651.〕 By the time of Khosrau II the Sassanid royal court was the host of prominent musicians such as Ramtin, Bamshad, Nakisa, Azad, Sarkash, and Barbad. Among these survived names, Barbad is remembered in much documents and has been named as remarkably high skilled. He has been credited to have given an organization of musical system consisting of seven "Royal modes" named ''Xosrovani'', thirty derived modes named ''lahn'', and 360 melodies named ''dastan''. These numbers are in accordance with Sassanid's calendar of number of days in a week, month, and year.〔 p. 3.〕 The theories these modal systems were based on are not known, however the writers of later periods have left a list of these modes and melodies. These names include some of epic forms such as ''kin-e Iraj'' (''lit.'' the Vengeance of Iraj), ''kin-e siavash'' (''lit.'' the Vengeance of Siavash), and ''Taxt-e Ardashir'' (''lit.'' the Throne of Ardashir) and some connected with the glories of Sassanid royal court such as ''Bagh-e shirin'' (''lit'' the garden of Shirin), ''Bagh-e Shahryar'' (''lit.'' the Sovereign's Garden), and ''haft Ganj'' (''lit.'' the seven treasures). There are also some of a descriptive nature like ''roshan cheragh'' (''lit.'' bright lights).〔 In general the period of Khosrau II reign is regarded as an "golden age of Iranian music" and himself is shown in a large relief at Taq-e Bostan among his musicians and himself holding bow and arrows and while standing in a boat amidst a group of harpists. The relief depicts two boats and the whole picture shows these boats at "two successive moments within the same panel".〔 Barbad may have invented the lute and the musical tradition that was to transform into the Maqam tradition and eventually the Dastgah music. Even after Islam, Persian musicians did not disappear: Zaryab is often credited with being the greatest influence over Andalusian and Spanish music.〔(Iranian.com )〕 Farabi and Avicenna were not only musical theorists but adept at the lute and the Ney, respectively. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Music of Iran」の詳細全文を読む スポンサード リンク
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