Özet:

The present article tries to make a study on the panorama of Persian classical music in contemporary Iranian society, proposing an original anthropological-ethnomusicological typology of its varied artistic tendencies. For this purpose, it reminds, first of all, some of the most important phenomenon or facts in the history of Persian classical music in the twentieth century. Then, it identifies and categorizes the characteristics of seven big contemporary tendencies among the most active and influential ones in the domain of Persian classical music, in the form of a continuum. The essential criterion of distinction of these tendencies in this article is the position of each of them with respect to the heritage of the Qâjâr musical tradition. The article shows that none of these seven big tendencies is occupied with the questions like revivification of Persian pre-Qâjâr music or enrichment of the today’s classical practice by referring to historical sources or the musical traditions of neighboring cultures, such as Turkish-Ottoman and Arabic traditions. However, from 2005, a new and growing “neoclassical movement” is born in the Persian classical panorama, which corresponds to an eclectic opening towards neighboring musical cultures and to an intention of reviving the lost elements of ancient Persian music in the contemporary practice.  

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