Professional folk instrumentalists and vocalists ( motreb) perform at formal ceremonial events such as weddings. There are several types of traditional specialists of folk music in Iran, some of whom belong to specific ethnic and regional groups. Iranian folk musicians usually learn their art from their families. Three types of instruments are common to all parts of the country, namely sorna ( karnay, zurna), ney ( flute), and a doubleheader drum called dohol. Musical instruments of various sorts are used in Iran's traditional music, some of which belong to specific groups. Traditionally, ruhowzi was performed on stages made of boards that were covered with rugs and were put on a small pool ( howz) in the courtyard. The stories contain funny remarks that are improvised and indicate social and cultural concepts. Ruhowzi, a musical comedy in Iran's traditional theater, involves loose paraphrases of stories from Iranian folklore and classical literature that are already known to the audience. įrom left: Mohammad Heydari, Hooshang Zarif, Mohammad Esmaili and Parisa, 1976 The poetic meter of do-beyti ("two-couplet"), often sung in the Iranian vocal mode of āvāz-e dašti, is closely associated with Iranian folk tunes. There are folk songs that apply to particular occasions, such as weddings and harvests, as well as lullabies, children's songs, and riddles. Iranian folk music is categorized in various themes, and includes historical, social, religious, and nostalgic contexts. Elements deriving from Iran's folk and classical music have been combined and used also in the pop music. Iranian folk songs were incorporated into musical compositions that were produced within the parameters of classical Iranian modes, combined with western musical harmonies. Composers of the late 19th and early 20th centuries used the folk music of their native countries as a source of inspiration for their compositions. Experiments and influences from Iran's folk music have been incorporated into the musical appearance of tasnif, that is a type of vocal composition in Iranian classical music. Many of Iran's folk songs have the potential of being adapted into major or minor tonalities, and Iranian singers of both classical and folk music may improvise the lyric and the melody within the appropriate musical mode. The modal concepts in Iranian folk music are linked to those of the country's classical music. Likewise, Strabo's Geographica reports that the Parthian youth were taught songs about "the deeds both of the gods and of the noblest men".
Ancient Greek historian Plutarch, in his Life of Crassus (32.3), reports that they praised their national heroes and ridiculed their Roman rivals. They performed for their audiences at royal courts and in public theaters. In classical Iran, minstrels ( gōsān huniyāgar) had a prominent role in the society. Folkloric items, such as folk-tales, riddles, songs, and everyday-life narratives, were collected through the discovery and translation of the Avesta, that is a collection of ancient Iranian religious texts.
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