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Artists: Djamshidi, Agha-ye - kamanche
Sadjadifard, Agha-ye - santur
Sahihi, Agha-ye - tombak
Album:The Music of Islam, Vol. 12: Music of Iran, Karaj.
Year: 1998

Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central, and south Asia to island southeast Asia, and attracting an increasing following in India, western Europe, north America, east Asia, and southern Africa. This is a global presence which cannot be ignored.

Many orthodox Muslims have traditionally held that music is generally detrimental to the listener's religious life, and as a result there is relatively little sacred music in Islam. But there is some. Central to Islamic life is the chanting of the holy scripture, the Qur'an. Two associated works, the call to prayer known as ezan (adhon) and the tekbir, are known throughout the Islamic world, and are also performed in a highly stylized, richly embroidered style of chant. These prayers are the subject of this volume. A further prayer, the mevlud (mawlid) and regional prayers for the month of Ramadan are reserved for special occasions. All of these sacred works are sung/recited (the distinction becomes almost a semantic one in these performances in Arabic, of course); but difference in pronunciation and inflection have led to distinctly regional styles of performance. The five reciters recorded in this volume are all based in Istanbul, Turkey, where the tradition of Qur'anic chant is particularly strong.

The music culture of Yemen is a domain which has, until this recording and accompanying annotation, been scarcely known or documented. Yet, it has deep historic roots. The music of Yemen is extremely rich in genres, repertoires and configurations, functional relationships, modalities of performance and instruments. Yemenite music in general, and regardless of all the differences between layers of tradition and local and regional styles, has a particular attraction and charm, virtues which have been praised since ancient times.

The instrumental compositions in this recording belong to Persian art music as passed down to the present. The marked preference of the Persians for instrumental music contributed to the dedication of greater attention by the Arabs, orientated more towards vocal music, to the development of instruments and instrumental performance.

Gusheh-ha—designating small dimensioned tonal melodic tone groups—form the foundations of the great complex creations of the classical music of Iran. A gusheh (singular) is comprised of a dastgah—a kind of five–part suite. The connection with classical music is first established by the integration of all recordings in two very popular dastgah-ha (plural), Shur and Homayoun, also found in most regional music traditions.

The instrumental compositions combining the kemenche and santur offer an excellent rendering of the feeling for sound or of the sound ideal of classical Persian music culture. They are accompanied in the rhythmical formation by the zarb or duff.

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