Dutar
Photo by ijavan.ir

Dutar is a traditional simple long-necked lute that has a dulcet and melodic tone despite its simplicity. The neck which is sometimes decorated with camel bone and precious stones ranges between one to two meters long. Dutar in Persian means two strings; some attribute one string that plays the main melody to female, and another that functions as the accord to male. The majority of Dutar players use their index and thumb fingers for playing.

Kalil Sheikh, Dutar player from Khaf region, Khorasan Razavi, Iran
Photo by Meysam Bazekavat

The images of Dutar in ancient inscriptions prove the antiquity of this instrument that is still popular in contemporary Iran. The crafting and playing Dutar are tied with the culture of many ethnic groups in Iran who play this instrument in a wide range of social and cultural occasions and ceremonies along with ethnic, cultural, epic, and historical lyrics strengthening their identity and cultural pride. Traditionally, the knowledge of crafting and playing the Dutar transmits from master to pupil.

Kalil Sheikh, Dutar player from Khaf region, Khorasan Razavi, Iran
Photo by Meysam Bazekavat

The Traditional Skills of Crafting and Playing Dutar was registered in the list of Intangible World Heritage of UNSECO in 2019.

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The Art of Crafting and Playing Kamancheh
Photo by Vigen M / Shutterstock

Kamancheh is an authentic old bowed string musical instrument with a bow (like a violin), long neck, small bowl, four strings (in the past it has three strings), and different parts made of wood, the skin of lamb or goat, bones, and metals. The bottom of Kamancheh has a metal base that is put on the thigh or ground when playing. This instrument is capable of being played individually or in bands to convey a vast range of themes including epic, spiritual, amusing, and happy themes.

According to pieces of evidences, the history of Kamancheh dates back to over one thousand years ago, played mostly in the classical music of Iran and Azerbaijan. Based on the available visual proofs from different historical eras, it can be argued that Kamancheh has been played in many Iranian ceremonies, out of which includes historical miniatures in Chehel Sotoun Palace in Isfahan remained from the Safavid dynasty (1501-1736).

The Art of Crafting and Playing Kamancheh
Photo by Levent Konuk/ Shutterstock

However, after the entrance of the violin to Iran, many of the Kamancheh players put this instrument away and started playing the violin. Given that they were unfamiliar with the principles of playing the violin, they played it based on the existing rules and principles of playing Kamancheh and the only difference lied in the way they held it in their hands.

In fact, Kamancheh is played while sitting down similar to a cello. Ali Asqar Bahari was the first contemporary Iranian musician who attempted to survive Kamancheh and managed to introduce it to the Western world.

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Photo By Iranian Cultural Heritage, Handicrafts and Tourism Organization
ich.unesco.org

The word Maqam or Moqam refers to the highest level of mastery of composing, playing, and singing a traditional form of music local to the Khorasan Province, Iran. The person who plays Maqami is known as Bakhshis. Maqam also means a position in Farsi, implying the high stand of the Bakhshis musicians. In general, the music of Khorasan is divided into two regions of north and south regions. This form of music with local instruments transmits Gnostic, historical, religious, and epic themes. Maqami music encompasses special vocal and/or instrumental melodic modes performed with Turkish, Persian, Turkmen, or Kurdish lyrics.

Bakhshis know all the maqams and their lyrics learned gradually through traditional master-pupil training, some of them can also make musical instruments. The word Bakhshis is originated from Bakhshesh meaning bestowment that refers to the natural musical talent bestowed upon these musicians by God as a gift. In appreciation of this gift, Bakhshis feels a kind of duty to sing Gnostic poems to show their gratitude to God. Praises of the prophet Muhammad is another subject of the poems in Maqami music. Because of the significance of the music of Bakhshis, it was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2010.

The word Bakhshis is originated from Bakhshesh meaning bestowment that refers to the natural musical talent bestowed upon these musicians by God as a gift.

Besides Bakhshis, the other group of Maghami musicians in Khorasan is Ashiqs who play often at joyful ceremonies while accompanying a traditional dance. Of note is that Ashiqs in Iran differ from those of Azarbaijan as they are Kurds and Turkish, respectively, each with their own special musical instruments. Some of the most common Ashiqs’ instruments include Sorna (horn), Dohol (drum), and Kamancheh (bowed string instrument). Finally, the third group of Maghami musicians in Khorasan is Luties who apparently do not exist today. They used to roam villages to play a simple instrument called Dayereh (a frame drum with jungles) and sing poems.

The most common musical instruments used for Maghami music include:

1) Dutar

Dutar, meaning two-strings in Farsi, is the most applied instrument in Maghami music. It is a kind of string instrument in Iran with a pear-shaped bow, a neck made of apricot or walnut wood, and two strings. Its strings represent the sharp and flat pitches. It is believed that Dutar is a cognate of Tanbur (a long-necked instrument with three strings used in Iran and also in Armenia, India, Turkey, Uzbekistan, etc.) created by the Islamic scientist and musician Abu Nasr Farabi. In 2019, the International Committee of UNESCO for the safeguarding of the Intangible Cultural Heritage was held in Bogota, Colombia from 9 to 14 December. The committee inscribed traditional skills of crafting and playing Dutar on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.

2) Qoshmeh

A small-sized wind instrument with a double pipe tied together, which is mostly played on joyful occasions by Kourmanji ethnic groups in the Northern Khorasan.

3) Ney

It is a woodwind instrument with a history of more than 4000 years but still in use. It consists of an end-blown hollow cane with five or six finger holes. It can usually be found in Iran in classical orchestras.

4) Sorna

Sorna is another kind of local woodwind instrument similar to Ney but with a double-reed- construction and the higher pitch usually played at ceremonies and festivities.

5) Dohol

It is a type of cylindrical drum struck with two sticks and/or bare hands. Dohol mostly accompanies Sorna at joyous ceremonies like weddings.

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