index ʿAbbasid Caliphate, 6, 25, 35, 42, 98; ancient ʿAlizadeh, Hossein, 210–11 Iranian music and, 171; Graeco-Arabic writ- ʿamal [ʿamal] (practice), 34, 35, 50, 59, 63; musica ings on music, 29; patronage of musicians, practica and, 17; poetry and, 186 36; slow decline of, 36 Amir Khan Gorgi, 32, 45, 88, 99, 187; Ramal ʿabd Allah Qutb Shah, 45 rhythmic cycles according to, 33; song ʿAbdullah, Mirza, 113–14, 124, 126, 133, 143, 178; collection of, 95–98 authentic Iranian tradition and, 180, 181; Amuli, Muhammad ibn Mahmud Shams al-Din, instrumental radifs and, 189; radif-dastgah 40, 49 tradition and, 179, 209; Saba as student of, 183 Anatolia, 25, 38 Abd al-shāmel melody, 149 al-Andalus (Muslim Spain), medieval, 13 Abu-ʿAta (abū ʿaṭāʾ) avaz-dastgah, 107, 136, 148; Anglo-Persian (later, Anglo-Iranian) modal interpretations of, 107–8; tonic of, 109 Oil Company, 117, 122 Abu Bakr (companion of Muhammad), 68, 69 animal vocalizations, 56, 85 Abūl melody, 140 anthropology, 13, 18, 219 Achaemenid Empire, 1, 171, 203 Āqādeh melody, 148 acoustics, 143 Arabic language, 8, 11, 53, 59, 187; ʿaruz (ʿaruż) adwar [adwār] (theory of scale creation), 27, 28, poetic meter and, 31; decline of standing in 30, 44, 143, 146 Safavid Empire, 35; documentation of twelve- Afghan invasion (1722), 86, 88, 101, 116 maqam system in, 26; ghazal genre and, 185; Afshari (afshārī) avaz-dastgah, 107, 138, 141; as Islam and, 37, 65; medieval writing on music, matin, 150; modal interpretations of, 107–8; 10; on morality of instruments, 70; music new music of Iran and, 161; Shur dastgah treatises in, 7, 12; rise of Islam and, 19; rules and, 148; tasnif and, 204 of poetry and, 188; songs and singing in, 5, Afsharid Dynasty, 46, 116 34; sources on music in, 9; Sufi texts in, 66 agency, 11, 13, 14 Arabic music, 1 ahang (āhang) melody, 135, 141 archeology, Foucauldian, 18 Ahmed, Shahab, 63, 64 architecture, 81, 83, 100, 147 ʿAisha (wife of Prophet Muhammad), 68 ʿAref Qazvini, Abolqassem, 20, 126, 206; critique ʿAli (cousin of Muhammad), 68, 89, 96 of Vaziri, 169–71, 177–82, 184; tasnif composi- ʿAli (Shiʿa Imam), 200 tions of, 177–78, 202–6, 207 ʿAli Akbar Shahnazi, 180 Aristotle, 56 253 254 index ʿaruz (ʿaruż) poetic meter, 31 Basij militia, 14 Aryan hypothesis, 121 Bastami, Foroughi, 196 Asadi, Hooman, 6 Baste-Negar gusheh, 192 ʿAshirān melody, 140, 150 Bayati (bayātī), 53 Ashjār va asmār (Ibn al-Munajjim), 55 Bayat-i Isfahan (bayāt-i iṣfahān) avaz-dastgah, astronomy/astrology, 55, 62 107, 109, 136, 160; maqam scales and, 151, Ataturk, Mustafa Kemal, 121 152; as matin, 149; modal interpretations of, Aurangzeb Alamgir (Mughal ruler), 44 107–8; tasnif and, 197, 198, 199, 201, 206, 212 avaz (avāz) melodic complex, 4, 29, 31, 32, 150; Bayat-i Kord (bayāt-i kord) avaz-dastgah, 107, animal vocalizations and, 56; avaz-dastgah, 138, 141, 148; as matin, 150; modal interpreta- 106, 107, 108, 109, 112, 164; in circular chart tions of, 107–8 representing twelve-maqam system, 30; cos- Bayat-i rājeʿ melody, 140, 150 mological alignments of, 135; dastgah scales Bayat-i shīrāzī melody, 138 for, 159, 160; ghazal and, 141, 188; gusheh and, Bayat-i Tork (bayāt-i tork) avaz-dastgah, 107, 138, 115; improvisation and, 113; instruments and, 141, 148; as matin, 150; modal interpretations 54; khaneh and, 33; Mahur dastgah and, 140; of, 107–8; new music of Iran and, 161 meanings of, 7–8; performance of, 206; types Bidad (bīdād) gusheh, 161, 161 of people/geographies and, 53 Bīd kānī melody, 138 avaz (awāzah) scale, 27, 28 Bizet, Georges, 175 avaz-dastgah, 106–9, 112, 165–66, 183, 188, 211, 212 Book of Songs [Kitāb al-aghānī] (al-Isfahani), 99 Avāz seh qesm, 138 Borumand, Nur ʿAli, 106, 109 Aynur, 211 Bozorg bā do melody, 148 Azad Khan, territory of, 46 Bozorg gusheh, 109, 138, 150 āẕarbyjānī melody, 140, 149 Bozork (bozork) shadd, 27, 52, 53 Azerbaijan, 15, 203, 205–6 Buhūr al-alḥān (Forsat Shirazi), 131, 134–42; “Azerbaijan” (ʿAref Qazvini), 205–6 ghazal listed in, 189; Mahur (māhūr) dastgah Azeri music, 5, 15, 113, 116 in, 140; Shur (shūr) dastgah in, 137, 138, 139 Azeris, 5, 11; ʿAref Qazvini’s appeal to, 205–6; Bukhara, 25, 116; in the Afsharid Empire, 46; as minority in Iran, 15, 121 Emirate of, 46; in the Timurid Empire, 41 Bukhari, Mustamli, 74 Baba Taher Orian, 187 Busalik (būsalīk) shadd, 27, 51, 52, 53 Babayan, Kathryn, 99 Būsalīk melody, 140, 150 Babism, 126 Butler, Katherine, 13 Baghdad, 25, 36, 116; as ʿAbbasid capital, 26; Buyids, 36 in the Ilkhanate, 39; Mongol siege of, 37; in Byzantine Empire, 36 Safavid Empire, 43; in Timurid Empire, 41 Bahāʾallah, 126 capitalism, 219 Bahaʾi religion, 126 Carmen (Bizet opera), 175 Bahar, 201, 207 Caruso, Enrico, 175 Bahram Shah, 26 Central Asia, 5, 17, 42, 120, 209; cosmopolitan Bakharzi, ʿAbd al-Mafakhir Yahya, 69, 71, 74; Islamic empires in, 19; end of ʿAbbasid rule on faking of samaʿ, 76; on samaʿ and the in, 36; fall of Soviet Union and, 15; ghazal soul, 77 poetry in music performance, 185; musical Bakhtiari dastgah, 141, 190 instruments of, 3; music traditions of, 12; Bāl-i Kabūtar melody, 150 Persian-speaking people in, 15; political Baluchis, as minority in Iran, 15 change across, 86; premodern empires in, 47; Banaʾi, 42, 57 Turkic and Mongol rule in, 38, 215; twelve- Bāq-i Nīshābūr melody, 148 maqam system in, 25 Barbad, 59 Chahargah (chahārgāh) dastgah, 52, 53, 107, 165, bar-dasht (bar-dāsht) melodies, 148–50, 150 179, 211; in Buhūr al-alḥān (Forsat Shirazi), bar gasht [bar gasht] (recapitulations/reprises), 136; ghazal and, 141, 192; maqam scales and, 5, 34, 35 151, 152; modal interpretations of, 107–8; index 255 poetic genres and, 190, 191, 192, 193, 194; by Miller, 108; pish-daramad, 112, 140; pitches tasnif and, 198 in performance of, 4; poetic themes/sym- chahar mezrab [chahār meżrāb] (solo instru- bolism in poetry of, 194–97; tasnif (taṣnīf) mental piece), 111, 112, 113, 138, 140, 148; gush- songs, 112. See also avaz-dastgah; radif-dast- eh and, 186; placement after the daramat, 206 gah tradition; seven dastgah of Qajar court chahar pāreh melody, 138 Dastūr-i tār (Vaziri), 134, 159 chakāvāk melody, 150 Davami, Abdollah, 189, 190, 192, 199, 200, 212; on chanting, ritual (ẕikr), 66 division of poetry in Chahargah, 193, 194; on Chekavak gusheh, 196 earliest ghazal-based tasnif, 197; singing of “Chinese Instrument of Bowls, The” (“Sāz-i tasnif, 206; vocal radif version of, 213 qaṭāt-i chīnī”), 54 al-Dawlah, Sayf, 36 Chingiz Khan, 5, 38, 40, 90 Delkash gusheh, 109, 179 Chobanids, 39 Delkesh melody, 140 codas (ẕayl), 5, 34, 35 democracy, 120, 125 colonization, European, 5 discourse, redundancy of, 17 composition, 4, 33–35, 61–62; composer discourse analysis, 18 (muṣannif), 62; creator of melody (mulaḥn), dissonance, 85 62; improvisation contrasted with, 213; dobaytī melody, 138 metered, 3 dobayti poetry, 141, 187, 188 Congress of Arab Music (Egypt, 1932), 9 documentation, historical, 18 Conservatory of Music (Honaristān-i mūsīqī), Dogah (dogāh) maqam, 52, 53, 54 171 drums, 3, 114 consonance, 85 al-Dunya, Ibn Abi, 70 “Crown of the Great King’s Head” (ʿAref During, Jean, 5, 106, 109 Qazvini), 204–5 Durrani Empire, 46 cultural production, 18, 21 Durrat al-tāj (Qutb al-Din Shirazi), 38, 40 Cyrus the Great, 14 Ebadi, Ahmad, 182 Dād melody, 140 emotion, musical performance and, 50–51, 52, daf (frame drum), 114 173, 174, 176, 178–80 Danāseri melody, 140 Enumeration of Knowledge (al-Farabi), 62–63 Dar al-Fonun (Dār al-Fonūn) military school, Erzincan, Erdal, 211 117, 122, 124 ethnolinguistic identities, 11, 217 daramad (darāmad) melodies, 110, 113, 135, 138, ethnomusicology, 106, 110, 219 140, 150, 160; chahar mezrab placed after, Euclid, 56, 57 206; darāmad-i aval, 140, 149; darāmad-i European (Western) music, 127, 166, 178, 218; davvim, 140; darāmad-i seyyim, 140; poetry dominance of, 153, 173; fugue, 150; hegemony and, 191, 192, 193; Shur dastgah and, 148 of, 5–6; influence on radif-dastgah tradition, D’Arcy Oil Concession (1901), 117 219; as international music, 173, 177; intona- Dariush the Great, 203 tion, 146, 157; military music in Western Darvish Khan, 125, 126, 133, 183, 201 style, 9; scientific thought and, 144, 146, 147 Dashti (dashtī) avaz-dastgah, 107, 138, 150, 159; Masnavi poetry and, 141, 190; as matin, 150; fann [fann] (art), 48, 49, 50 modal interpretations of, 107–8; new music al-Farabi, 8, 10, 11, 28, 57, 135; ʿAbbasid patronage of Iran and, 161; tasnif and, 203, 204, 206; of, 36; Enumeration of Knowledge, 62–63; tonic of, 109 Kitāb al-mūsīqā al-kabīr, 36; legend about Dastān-i ʿarab melody, 138, 150 musical ability of, 50, 60; rules for intervallic dastgah (dastgāh), 3, 6, 105, 155; ancient poetry structure, 172 and melodic structures of, 190–97; daramad Farahani, 114 [darāmad] (introduction), 110, 113, 135, 138, Farānī melody, 150 140; maqam scales and, 151; modal interpre- Farmer, Henry George, 9, 26, 45. See also tation by During, 107; modal interpretation Systematic School 256 index Farsi, Khalif Shams al-Din Mohaqeq, 58, 59 Greek music, ancient, 10, 171 fasıl (Ottoman musical structure), 43 Greek philosophy, 10, 26, 62, 63 Faṣl-i mollā melody, 148 Gūsheh melody, 149 Ferdowsi, 70, 90–91, 95, 182, 195 “gunpowder empires,” 42–46, 86 fiddle, spiked. See kemancheh [kemāncheh] Gūrī melody, 138 fīlī melody, 140, 149 gusheh (gūsheh) melodies, 4, 5, 31, 85, 155, 192; Forsat al-Dowleh Shirazi, 20, 130–32, 138, 141–42, chahar mezrab, 111, 112, 113; in circular chart 164, 165; on dastgah melodies as ancient and representing twelve-maqam system, 30; Persian, 213; on ghazal, 189–90; on instru- cosmological alignments of, 135; dastgah in mental sections and dastgah, 206.