Achaemenid music
The Achaemenid Empire, a major state of ancient Iran, lasted from 550 BCE to 330 BCE, in which music played a prominent role.
Background
The Achaemenid Empire was a major state of ancient Iran from 550 BCE to 330 BCE. It arose from the conquests of Cyrus the Great, whose familial dynasty, was named for their mythical progenitor-ancestor Achaemenes.[1] At its height, it was the largest empire by that point in history, spanning from the Balkans to Northern Ancient Egypt and the Indus Valley.[1] A further source of unification arose from the widespread adoption of Zoroastrianism as set forth by the prophet Zoroaster a few centuries earlier.[2] The empire fell to the conquests of Alexander the Great, under whose successors formed the Seleucid Empire.[1]
The earliest music in Persia is difficult to pinpoint, due to a paucity of extant records.[3] Persian music has existed in Persia since at least c. 3300–3100 BCE of the Elam period, from when the earliest artistic depictions of arched harps are dated; it is possible that these instruments existed long before their visual depictions.[4] Later surviving instruments include bull lyres from c. 2450, small Oxus trumpets from c. 2200–1750,[5] and much later, lutes from c. 1300 BCE, which seem to have been popular with the upper class.[6] Rock reliefs of Kul-e Farah from 1st-century BCE, include sophisticated Persian court ensembles, in which the arched harp is central.[7]
Overview
During the Achaemenid Empire (550–330 BCE), the influence of Persian culture reached across the state.[8] Like earlier periods, relatively few records of music survive.[9][10] The ethnomusicologist Hormoz Farhat describes the dire situation: "the Achaemenian dynasty, with all its grandeur and glory, has left us nothing to reveal the nature of its musical culture".[10] Persian traditional music was first developed by at least this period, later flourishing in the golden age of Sasanian music.[2] Most knowledge on the Achaemenid musical culture comes from ancient Greek historians.[10] [11][12]
In his Histories, Herodotus noted that Achaemenid priests did not use aulos music in their ceremonies,[13] while Xenophon reflected on his visit to Persia in the Cyropaedia, mentioning the presence of many female singers at court.[9] Athenaeus also mentions female singers when noting that 329 of them had been taken from the King of Kings Darius III by Macedonian general Parmenion.[9][a] These female musicians may have been a precursor to the later Islamic Qiyan tradition.[9]
Later Persian texts assert that gōsān poet-musician minstrels were prominent and of considerable status in court.[14]
The influence of Persian musical culture spread as far as Ancient China; the tuning peg from a 2nd Century BCE guqin-Zither is adorned with Achaemenid imagery.[15][16][17]
References
Notes
- ^ See Athenaeus 1854b, p. 608. Also see Athenaeus 1854a, p. 530 for another singing girls anecdote.
Citations
- ^ a b c Lawergren 2001, §1 "Introduction".
- ^ a b Miller 2012, p. 3.
- ^ During 1991, p. 39.
- ^ Lawergren 2001, §2 "3rd millennium BCE: (i) Arched harps".
- ^ Lawergren 2001, §2 "3rd millennium BCE: (ii) Bull lyres, (iii) Trumpets".
- ^ Lawergren 2001, §3 "2nd millennium BCE: (ii) Lutes".
- ^ Lawergren 2001, §4 "1st millennium BCE: (i) Elamite harp ensembles".
- ^ Miller 2012, p. 10.
- ^ a b c d Lawergren 2001, §4 "1st millennium BCE: (iii) Achaemenid period, 550–331 BCE".
- ^ a b c Farhat 2004, p. 3.
- ^ Zonis 1973, pp. 28–30, 150.
- ^ Jacobs 2021.
- ^ Herodotus 1920.
- ^ Boyce 1957, pp. 20–21.
- ^ Lawergren 2000, p. 77.
- ^ Blum 2001.
- ^ Lawergren 2003.
Sources
Early
- Athenaeus (1854) [200 CE]. Deipnosophistae. Translated by Yonge, C. D. (Loeb Classical Library ed.). London: Henry G. Bohn.
- Athenaeus (1854a). "Chapter 39". In Yonge (1854).
- Athenaeus (1854b). "Chapter 87". In Yonge (1854).
- Herodotus (1920) [5th century BCE]. "Book 1: Chapter 132". The History of Herodotus. Vol. 1. Translated by Rawlinson, George (Loeb Classical Library ed.). Cambridge: Harvard University Press.
Modern
- Books
- During, Jean (1991). "Historical Survey". In During, Jean; Mirabdolbaghi, Zia (eds.). The Art of Persian Music. Washington D.C.: Mage Publishers. pp. 31–56. ISBN 978-0-934211-22-2.
- Farhat, Hormoz (2004). The Dastgah Concept in Persian Music. Cambridge: Cambridge University Press. ISBN 978-0-521-54206-7.
- Jacobs, Bruno (2021). "Poetry, Music, and Dance". In Jacobs, Bruno; Rollinger, Robert (eds.). A Companion To The Achaemenid Persian Empire. Blackwell Companions to the Ancient World. Vol. 2. Hoboken: Wiley. pp. 1417–1422. ISBN 978-1-119-07165-5.
- Lawergren, Bo (2000). "Strings". In So, Jenny F. (ed.). Music in the Age of Confucius. Washington: Smithsonian Institution. pp. 65–86. ISBN 978-0-295-97953-3.
- Zonis, Ella (1973). Classical Persian Music: An Introduction. Cambridge: Harvard University Press. ISBN 978-0-674-13435-5.
- Articles
- Blum, Stephen (2001). "Central Asia". Grove Music Online. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.article.05284. ISBN 978-1-56159-263-0. (subscription or UK public library membership required)
- Boyce, Mary (1957). "The Parthian Gōsān and Iranian Minstrel Tradition". Journal of the Royal Asiatic Society. 89 (1–2). Cambridge University Press: 10–45. doi:10.1017/S0035869X0010735X. JSTOR 25201987. S2CID 161761104.
- Lawergren, Bo; Farhat, Hormoz; Blum, Stephen (2001). "Iran". Grove Music Online. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.article.13895. ISBN 978-1-56159-263-0. (subscription or UK public library membership required)
- Lawergren, Bo (2001). "I. Pre-Islamic". In Lawergren, Farhat & Blum (2001).
- Lawergren, Bo (2003). "Western Influences on the Early Chinese Qin-Zither" (PDF). Bulletin of the Museum of Far Eastern Antiquities. 75: 79–109.
- Miller, Lloyd (2012). Music and Song in Persia: The Art of Avaz. Abingdon-on-Thames: Taylor & Francis. ISBN 978-1-136-81487-7.
Further reading
- Lawergren, Bo (1997). "To Tune a String: Dichotomies and Diffusions between the Near and Far East". In Magnusson, Börje (ed.). Vltra Terminvm Vagari: studi in onore di Carl Nylander [Beyond Terminum Vagari: A study in honor of Carl Nylander]. Rome: Edizioni Quasar. ISBN 978-88-7140-118-8. OCLC 246052568.