In this issue of Gohar Nameh, we’ll journey through the evolution of Persian music, from its hidden melodies to its bold expression of love and liberty, highlighting the transformative works of Ali Akbar Shayda and Aref Qazvini. You'll also find updates on Silenced Whispers and details on upcoming events and appearances.
Hidden Melodies: The Struggle and Revival of Persian Music
My grandmother was in her early twenties, married with two very young children when her beloved mother passed. With her husband away on the battlefield, she took solace by playing tar, an instrument she had learned as a child. But to play, she had to hide in a windowless storage room with doors closed to avoid disturbing her religious mother-in-law.
Shiaa clerics' and their followers' opinions of music at that time were conflicted. By and large, they agreed that singing at the service of religion—e.g., singing lamentations during Ashura—and playing tambourine at weddings and circumcision ceremonies were allowed. However, any music that encouraged vices—which were many—was banned. As was a performance in front of the opposite sex. To avoid gossip and be on the safe side, most Muslims, even those trained in music, refrained from playing in public.
At the same time, many ordinary people did not appreciate the complex and rigid structure of classical Persian music performed at the king's court and private homes. To entertain at celebrations, the wealthy hired professional non-Muslim—primarily Jewish—performers and the poor played well-worn tambourines.
Then, in the second half of the nineteenth century, one man changed that, making Persian music accessible to the masses —Ali Akbar Shayda.
He turned tasnif, the least significant part of a five-part classical Persian music piece, into its focal point. Avaaz, a highly embellished bel-canto based on a well-known poem, is the primary vocal portion of a Persian musical piece. Singing Avaaz requires the musical gymnastics of a highly trained singer. Tasnif, on the other hand, is the refrain to the Avaaz and can be sung by anyone with a reasonably pleasant voice.
Shayda—a civil servant turned mystic—composed pieces consisting of only tasnifs, sometimes with a shortened Avaaz. His pieces had hummable melodies, and lyrics in colloquial language —in line with the popular trend—and were short. The subject of these songs was a forbidden emotion that Sheyda, hopelessly enthralled with Marzieh, a young Jewish singer, knew well—love.
The new musical form spread quickly, even without the benefit of musical reproduction systems such as gramophones and radio. People memorized and hummed the tunes. Their popularity expanded after Ali Naqi Vaziri modified the Western musical notations to accommodate Persian music, and printers made sheet music of Sheyad’s compositions available.
Two decades later, at the beginning of the twentieth century, another singer/composer, Aref Qazvini, used the format to create music advocating for another forbidden subject--freedom.
The revolutionary Aref, wrote tasnifs backing the constitution, lamenting loss of young life at civil war with reactionaries, shaming people for their abandonment of an American expert because of Russian coercion, and mourning the loss of a hero. His dashing good look and pleasant voice made him a popular choice for private concerts the wealthy sponsored at home where women could see men performing live.
Modern technology further expanded Iranian’s access to music. For the first time in their lives, urbanites who could afford a gramophone were able to hear music at any time in the privacy of their homes. But that subject has to wait for a future issue of Gohar Nameh.
The music of Shayda was revived in the 1940s after the introduction of radio in Iran. It became very popular in the 50’s and 60’s. One woman instrumental in the revival was a singer with the stage name of Marzieh.
Silenced Whispers Updates
This has been a thrilling month for Silenced Whispers. We were featured not only in one, but two articles in Sloan Magazine mentioned in MIT Daily. We were honored to present at a well-attended event, sponsored by the alumni association at MIT. We also had a successful book event at the Belmont Book Store.
Silenced Whispers has received a 4 out of 5-star Clarion review from Foreword Reviews. The novel was praised as a "gripping historical novel" that portrays "Iran’s turn-of-the-century transformations" through the eyes of Gohar, a young woman who defies societal conventions. The review highlights the book’s "immersive atmosphere," noting how "Persian traditions wend into her everyday encounters," and describes Gohar as a heroine who "subverts expectations" while navigating her personal and political struggles. Read the full review on Foreword’s website here.
Lastly, we are happy to announce the addition of the Wellesley Book store to the list of regional stores carrying the book!
Upcoming Events and Appearances
(Tomorrow!) Saturday, Oct 5th @ 2-4 pm: Barnes and Noble Book Signing - 1324 Worcester St, Natick, MA 01760
Sunday, Nov. 3rd @ 6:30 pm: Iranian Association Society Book Signing - 17 Nichols Ave. Watertown, MA 02472
Saturday, Nov. 16th: Silenced Whispers private book reading and Q&A, along with 6 signed hardcover books and Persian tea and cookies, will be part of the silent auction at the BINA Farm 15th Anniversary Gala. Contact horsingaround@binafarm.org for details.
Check out the Cambridge Chamber Ensemble's newest performance, Labyrinth, running from November 1-3 at the Cambridge Multicultural Arts Center. This intriguing show follows a groom’s frantic search for his hotel room key, leading him through a maze of quirky characters and strange advice. Don’t miss it—get your tickets here.
What an informative and inspirational column!