Sasanian music

Sasanian music encompasses the music

of the Sasanian Empire, which existed
from 224 to 651 CE. Many Sasanian
Shahanshahs were enthusiastic
supporters of music, including the founder
of the empire Ardashir I and Bahram V.[1]
In particular, Khosrow II (r. 590–628) was
an outstanding patron, his reign being
regarded as a golden age of Persian
music.[1]
Marble mosaic of Sasanian harpist playing angular harp, c. 260 CE, from the palace of Shapur I in Bishapur.

7th century plate depicts Sasanian era musicians. The British Museum.

Persian classical music dates to the sixth

century BCE; during the time of the
Achaemenid Empire (550–331 BCE),
music played an important role in prayer
and in royal and national events. But
Persian music had its zenith during the
Sasanian dynasty from 224 until 651 CE. In
this era, many of Persian music's dastgahs
and modes were invented, most of them
traditionally attributed to Barbad. He
employed 30 sounds for music. Naturally
he recorded his inspirations and
performed them for his audience, since if
he did not, he could not play them again.

Dance and chanson were prevalent in

court banquets. It said that on several
occasions Persian musicians and dancers
were given to the court of Chinese
emperors by Sassanid kings, implying the
high reputation and virtuosity of Persian
musicians and dancers in that era.
Another important role that music played
was in the reception of foreign diplomats
and kings from neighbouring countries,
such as Byzantine or Hephthalites.

Five centuries after Barbad's death, Farabi

made a record of all the musical pieces of
his period and described the ancient note
recording method.

Music in Sasanian Iran

The history of musical performance in
Sassanid Iran is however better
documented than earlier periods. This is
specially more evident in the context of
Zoroastrian ritual.[1] By the time of Khusro
Parviz, the Sassanid royal court was the
host of prominent musicians. In general
the period of Khosro Parviz reign is
regarded as a "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".[1]

Instruments

Taq-e Bostan carving, Women playing harp while the king is hunting.

The musical instruments which appear

distinctly on the Sassanid sculptures are
the harp, the horn, the Daf, the drum and
the flute or pipe. The harp is triangular, and
has seven strings; it is held in the lap, and
played apparently by both hands. The
drum is of small size. The horns and pipes
are too crudely represented for their exact
character to be apparent. Concerted
pieces seem to have been sometimes
played by harpers only, of whom as many
as ten or twelve joined in the execution.
Mixed bands were more numerous. In one
instance the number of performers
amounts to twenty−six, of whom seven
play the harp, an equal number the flute or
pipe, three the horn, one the drum, while
eight are too slightly rendered for their
instruments to be recognized. A portion of
the musicians occupy an elevated
orchestra, to which there is access by a
flight of steps.
Famous Sasanian musicians

Female musicians accompanying king during hunting, Taq-e Bostan.

By the time of Khusro Parviz, the Sassanid

royal court was the host of prominent
musicians such as[2]

Ramtin
He was also a remarkable musician.
Bamshad
He was another court musician of
Khosrau II. He used to play early
morning (dawn) songs which could
please the king and people and bring
happiness to the society.
Nakisa
She was also the court musician of the
Sassanid Empire. The main theme of her
songs were in praise of King Khosrau II.
The main instrument that she played
was a harp. (written by Zahra Neshat-
Taherzadeh)
Azad
Sarkash
Though not as renowned as Barbod or
Nakisa, he was a remarkable musician.
Barbad
Barbad is remembered in many
documents and has been named as
remarkably high skilled. He has been
credited to have given an organisation
of musical system consisting of seven
"Royal modes" named Khosrovani, thirty
derivative 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.[2] The
theories based on which these modal
system was based are not known,
however the writers of later period 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 threasures).
There are also some of a descriptive
nature like roshan cheragh (lit. bright
lights).[2]

References
1. Lawergren 2001, "5. Sassanian period,
224–651 CE.".
 2. Farhat 2004, p. 3.

Bibliography
Farhat, Hormoz (2004). The Dastgah Concept
in Persian Music (https://books.google.com/
books?id=NiMhWnYDuQMC) . Cambridge:
Cambridge University Press. ISBN 978-0-521-
54206-7.
Lawergren, Bo; Farhat, Hormoz; Blum,
Stephen (2001). "Iran" (https://www.oxfordm
usiconline.com/grovemusic/view/10.1093/g
mo/9781561592630.001.0001/omo-978156
1592630-e-0000013895) . Grove Music
Online. Oxford: Oxford University Press.
doi:10.1093/gmo/9781561592630.article.13
895 (https://doi.org/10.1093%2Fgmo%2F978
1561592630.article.13895) . ISBN 978-1-
 56159-263-0. (subscription or UK public library
membership (https://www.oxfordmusiconline.c
om/page/subscribe#public) required)
Lawergren, Bo (2001). "I. Pre-Islamic".
Iran. Grove Music Online. (In Lawergren,
Farhat & Blum (2001))
Farhat, Hormoz (2001). "II. Classical
traditions". Iran. Grove Music Online. (In
Lawergren, Farhat & Blum (2001))
Lawergren, Bo (2009). "Music History i. Pre-
Islamic Iran" (https://www.iranicaonline.org/a
rticles/music-history-i-pre-islamic-iran) .
Encyclopædia Iranica. Leiden: Brill Publishers.

Further reading
 Abdolhossein Zarinkoob "Ruzgaran :
tarikh-e Iran az aghaz ta soghut-e saltnat-
e Pahlavi" Sokhan, 1999. ISBN 964-6961-
11-8

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