Islamic religious music in Iran

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La6red9nec

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May 17, 2002, 8:55:23 PM5/17/02
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/*
I hope the self-hating anti-Iranian parasites whose sole purpose
in life, as paid agents of the enemies of Iran and Iranian culture, is to
lie and spread disinformation about Iran and it's glorious culture
pay attention.
This is just to discredit them yet again in the eyes of the readers of this
forum.
I especailly not the date that is quoted as the start for Ta'zieh, 10th Century
AD, for that SJDG drunkard kooni who claims to "understand" music,
HAHAHAAHH!!!!!!!!!!
ANd for the sag bahai kooni who wonders why Beverely's company is interested
in showcasing such an accomplished art from from the Islamic Iran, LO!!L!L!L!L!
See self-hating anti-Iranian to the bones they are.
shAshidam to halgheshoon.............for the nth time :))))))
Enjoy!!!!!!!!!!!!!
*/

(Excerpted from an article by M.R. Darvish, 1997)


From the following angles Islamic music is important:

1. Compared to other religious musics in Iran Islamic music is more diversified
and superior in quality.

2. Islamic music covers a greater portion of the Iranian music and incorporates
a variety of branches.

3. On the basis of its text and application this sort of music incorporates a
considerable part of Iranian music.

4. Compared to other cultural and artistic branches such as prose and verse
literature, drama, epics, mythology, plays, stage decoration, costume, face
makeup, language
and dialect, an examination of the Islamic religious music is indispensable.

Considering its context and performance, the Islamic music can be divided into
several branches and surely each of these branches can themselves be divided
into a
variety of subdivisions.

- Ashurayi music.

- Passion play (Ta'zieh).

- Prayer music.

- Mystical and convent music.

Of the above classifications the Ashurayi and passion plays are exclusively
practiced by the Shia sect. Nevertheless, prayer and convent (khanqahi) music
is also
prevalent in the Shia faith. But the other branches of Islamic religion only
employ prayer recitals, mystical and convent music.

a. Ashurayi music

The Ashura epic and the method of martyrdom of Imam Hossein (peace be upon him)
is a turning point in the history of Shia belief throughout the Islamic world
and
enjoys special significance. The Karbala tragedy was such that among Shia
elders and saints Imam Hossein is the most distinguished religious figure in
Islam. For that
reason Ashurayi rites and music is one of the outstanding examples of religious
music in Iran.

According to certain records, the Moharram mourning ceremony was initiated
during Ale Booyeh Period (4th century A.H. or 10th century A.D.) and this
ceremony
permitted the Shia Muslims to openly lament the tragic martyrdom of Imam
Hossein and his followers.

According to Arab historian Ibne Asir, the Moharram mourning ceremony commenced
during the Ale Booyeh Dynasty (1).

These ceremonies continued in Iran in several centuries until the birth of
Safavid Dynasty when the Shia faith became the official religion of Iran and
naturally at that
epoch the Ashura mourning ceremony and its music was further expanded. Ashura
music itself is divided into several branches such as lamentation, narration
(recitation) and declamation of the tragedy, dirge, commemoration of Karbala
martyrs (Rowzeh), war annals, etc.

Lamentation is divided into many sub-divisions of which the most important one
is the Ashura music. I think the oldest mourning ceremony was lamentation which
started with preaching and lectures and was later on perfected. Lamentation for
the death of mythological heroes was popular before Islam also in Iran. In his
History of
Bokhara, Narshakhi says: "The people in Bokhara sung strange songs to lament
Siavosh's death and the minstrels called these songs `The Wrath of Siavosh".
The people
in Bokhara lament Siavosh's murder and this custom was popular in all provinces
and minstrels composed songs and singers chanted doleful lays and wept...(2).

Each of the episodes in the lamentation of the Karbala tragedy is important and
distinct. Good qualities, bravery, the method of martyrdom of each of the
heroes of
Karbala tragedy form various themes for such lamentations. Among these episodes
lamentation for the martyrdom of Imam Hossein (pbuh) is outstanding in quality
and
volume. In addition, the events occurred on each day of the first 10 days of
the month of Moharram form a distinguished section of these lamentations such
as lament
for Hazrat-e Abbas (pbuh), for Ali Akbar (pbuh), for Ali Asghar (pbuh), for
Zeinab (peace be upon her) and above all for Imam Hossein (pbuh). Besides these
melodies
and songs one might refer to the lamentation of the `The Last Supper' on the
occasion of the female orphans who were left behind after Imam Hossein's
martyrdom, the
lamentation of the sunrise, etc...

Normally several other symbolic rituals are observed along with the lamentation
such as breast beating, chain beating, stone beating, and dagger beating. Among
these,
breast beating is widely popular in different regions in Iran among the Shia
sect. The Iranian tribes have been the first followers of Shia faith and from
the beginning they
have mingled the Ashura mourning ceremony to a collection of other traditions.
The impact of native melodies on elegies and lamentations and inclusion of many
local
customs and rites in the Ashura mourning, are examples of such integration.
Aside the fact that the melodies in different regions in Iran are greatly
influenced by native
music, symbolic rites such as breast beating, stone beating, etc. follow
special body moves and figures which have an aesthetic origin. As a result,
many breast beating
figures used in Boushehr (in southern Iran) follows the customs of natives of
Boushehr.

Lamentation related to breast beating, chain beating, stone beating, or dagger
beating, etc. differs according to the instruments used or the physical
movement of the
body; it follows specific rhythm and speed. As a consequence each ceremony is
accompanied by its specific lamentation rite. Nearly in all Shia populated
regions in Iran
breast beating is popular. Meanwhile chain beating also varies from place to
place and each employs its specific lamentation song. The diversity in chain
beating in
different regions in Iran is notable in the different movements and figures and
methods of beating the chain or the different chains used.

Stone beating is another symbolic rite which is popular in several parts of the
country accompanied by special melodies. Normally two pieces of stone are
beaten on the
sides of the mourner by special manners and movements accompanied by
lamentation song. Apparently as a result of the physical damage caused by
stones on the body,
wood stick is gradually replacing stone. Lately instead of stone beating other
terms such as Karbzani or Karebzani, playing cymbals and ratchets are used. In
Mazandaran and some other regions like Komesh, south of Alborz mountain, the
term Kareb and in Gilan the term Karb and in Aran (Kashan), cymbal is
customary.
This ceremony needs considerable physical strength by the performers and is
popular in Lahijan and Aran, a district in Kashan, as well as Semnan and
Sabzevar.

The lamentation music also varies in different regions. Some of the lamentation
music originate directly from Iranian musical divisions. Others follow the
popular music
of the region and in some areas both the traditional Iranian music and local
music is used simultaneously. The slogans used in the lamentation is also
different and the
Persian text is often preferred, but in some regions in Iran the lamentation is
sung by local dialects. The lamentation music in the ceremonies follow two main
rules i.e.
rhythm and the rank.

Normally the lamentation starts with such songs which have less speed and
dynamism but once the lamentation gains peep the tone grows rapid and one piece
is
immediately followed by another piece. The rhythm also varies from 4/4, 2/4 to
6/8 and 6/4 scales. Singers of lamentation music normally are attentive to the
rank of the
music as well so that if a single rank is employed in the lamentation ritual,
the song is carried out on a continuous basis. Changing one rank into another
rank in
lamentation music is carried out very carefully and delicately. The wailing
melody is normally sung by a solo singer (the principle mourner) and is
responded by the chore
of breast beaters, chain beaters, Karbzans, etc.

Except lamentation other rituals are observed in the Ashura mourning ceremony
such as narration or recitation, description of tragedy, dirge and preaching.
Each of
these parts have a special place in the Ashura music which cannot be described
here in detail due to lack of space.

Composition of Ashurayi music

With the exception of Ta'zieh or passion play, several musical instruments are
used in Ashurayi music. These are mostly wind or drum instruments including the
following:

a. Damam rituals

Damam and cymbals are instruments specifically played in Boushehr. During this
ceremony three types of musical instruments including a long horn, several
metal
cymbals and damams are used. Damam is a double-sided relatively large drum. At
one side it is played by sticks and on the other side by the hand. Due to its
size and
performance damam is divided into three categories: ordinary damam, Ghambar
damam and Ashkoon damam. The result of playing these three types of double
sided
drums is a polyrhythmic music. Damam is played to announce the start of the
mourning ceremony (3).

b. Karna (trumpet or horn)

At certain villages in Gilan such as Mashk, Lasht, and Rudbeneh in Lahijan long
Karnas (trumpets or horns) are used in Ashura ceremony. The main body of the
trumpet or horn is made of reed at the end of which it has a bend like an staff
made of squash. It has a wooden mouthpiece at the other end of the trumpet to
blow into
the pipe. This special trumpet is used both in passion play and other Ashurayi
ceremonies and is called martyrdom song. At certain rituals one of the two
singers and a
group of Karna players play alternately.

c. Karb (Kareb or cymbal)

Karb is made of two pieces of thick stick which is held by the player's two
hands through a leather belt. This apparently replaces the dangerous stone
beating. Karb is
normally played in group through special rhythm and is popular in Aran, Kashan,
some districts in Semnan as well as Sabzevar and Lahijan.

d. Shell horn

This horn is made of a relative large shell. By boring a hole in its upper part
it allows the player to blow into it. There is another hole bored on the body
of the shell which
changes the sound by about one semitone. Such instrument is available in
Kherqan, south of Alborz Mountain.

e. Brass horn

This is like a trumpet with the exception of a piston used in army music bands.
Formerly different sizes of brass horns were used in mosques, Tekiehs and
Hosseiniehs in
Iranian villages. The original brass horns were hand made and later on they
were developed and perfected in France, England and Russia.

f. Kettledrum

In such regions where horn is played the kettledrum is used as its accompanying
beating instrument. Moreover, wherever hautboy is employed for Ashura rituals
the
kettledrum is also used as a beating instrument.

g. Hautboy

Hautboy is occasionally used in Ashura ceremony in some provinces such as
Khouzestan and Khorassan.

h. Naqareh (timbal or kettledrum)

Naqareh is another beating instrument which is used instead of drum in Ashura
ceremony. Ta'zieh (passion play) music

Literally Ta'zieh means mourning, lamentation and commemoration of those who
have died (4). Ta'zieh also means sharing other's grief and condoling the
survivors or
mourning for the departed (5), but in religious stage plays they are attributed
to special rituals and traditions. Contrary to its meaning Ta'zieh does not
necessarily mean a
sad song (6). Ta'zieh is a religious dramatic play in Iran in which music is an
inseparable branch. In the whole Islamic world, Iran is the only country which
has
developed a dramatic play for religious rituals. (7) Contrary to what is
assumed, passion play or Ta'zieh is not a simple or specific cultural
phenomenon or invented at a
specific period in history, but it has gradually been developed and several
centuries under the influence of different social, religious, cultural,
artistic and philosophical
conceptions (8).

The exact date for the emergence of dramatic Ta'zieh is not known but we are
sure of two important points in that connection: First of all Ta'zieh is the
product of a long
evolutionary process and not the fruit of inspiration or creative talent of an
individual (9). Ta'zieh play is a completed version of other mourning
ceremonies such as
lamentation, preaching, simulation, sketching, group marching, recitation, etc.
(10)

Group marching and preaching during the Moharram season grew more and more
complicated, refined and theatrical and at the second half of the eighteenth
century
they were fully integrated and converted into a modern theatrical and dramatic
performance known as Ta'zieh (11).

Anyhow what we can gather from our past records is that Moezudolleh Ahmad ibne
Booyeh popularized lamentation and simulation and in recent centuries the
theatrical
or simulation process was eliminated from these ceremonies stage by stage. The
revolution in that area can be studied in the meticulous observations recorded
by
European travelers' in their copious travelogues and notes (12).

During the Qajar period the traditional passion play was preserved in villages
but in cities and particularly in Tehran the simple and semi-theatrical system
was
abandoned and the Ashura ritual was converted from primeval play into
full-fledged dramatic play (13).

Anyhow the method of perfection and the traditional roots of the passion play
is an important subject which we do not have enough space here to elaborate
(14).

Nowadays Ta'zieh music, the text and the play form three separate divisions of
the drama which cannot be separated from each other in Ta'zieh or any other
musical
play. The Ta'zieh music can be examined from two distinct angels: singing music
and instrument music. These two aspects of Ta'zieh are closely interconnected
with the
text and various forms of the drama. The main section of Ta'zieh music is
singing. At one hand the songs are based on Iranian musical divisions and ranks
and on the
other hand in many aspects they protected and promulgated these songs and ranks
during the course of decades.

Several musical factors can be traced in the Ta'zieh music of which the most
important is the Iranian divisional music which forms the main ingredients of
passion play
songs. In the majority of cities each simulation imitates a certain rank such
as Hazrat-e Abbas simulation = Chahargah; Hour = Iraq.

Among famous Ta'zieh singers one comes across figures that were not only not
behind famous singers of their time but were respected and imitated by other
singers
and were even considered pioneers and guides. Among these vanguards one might
mention Seyyed Hossein Shabieh, Seyyed Ahmad Khan, Qolikhan Shahi and
Abulhassan Eqbal Azar.

Among them the music played in different regions in Iran is playing an
important role in the passion play. Besides passion plays performed in central
regions and
particularly in the capital, the passion plays in Fars, Gilan, Mazandaran,
Azerbaijan and Koumesh (Semnan, Damghan and Shahroud), Lorestan and Kermanshah
are
accompanied by the local songs alongside Iranian musical divisions. One can
easily spot the presence of Iranian traditional music in the majority of
passion plays in the
form of songs or instrument passion plays which are performed by instruments
such as fanfares (trumpets) kettledrums and hautboy.

Of other aspects of Ta'zieh one might refer to chore music. In Ta'zieh rituals
chores echo the solo singer. Pishkhan or lead solo singer is a sort of song
which is played
as a prelude to the Ta'zieh. In other words the lead singer starts a sort of
solo lamentation which prepares the environment for passion play and this
introduction is
augmented by several wind and beating instruments.

Song dialogues or recitals apply special charm to Ta'zieh music. These recitals
are also rooted in the ancient Iranian music. Such recitals consist of
narrating stories
accompanied by music or verbal narration of the Avesta, prayer narration, etc.

Narration is another important phenomenon of passion play songs. Nowadays two
systems are still employed in passion plays: melancholy declamation which is
related
to those who echo the feeling of the oppressed and the remnants of epic
narrators. The epic narrator is the phenomenon known as Oshtolom song in
present passion
play. This is a conversation type narration which has no written text.

Another section of the passion play is instrument music. The performance of
instrument and singing music in passion play is different. Instrument music is
another
inseparable ritual in Ta'zieh. The instruments are bugles, hautboys, Karna,
kettledrum, large drums, side drum, cymbals, clarinets, trumpets and so on.
What the players
do is too utter a combination of sounds which create the necessary atmosphere
and sound echo. These intermingled sounds are in the meantime rhythmical and
change
according to episodes on the stage. Sometimes the songs strengthen the play and
at times they help create the general feeling on the stage. Therefore, the
composition of
music in passion play depends on the dramatic variable. That which is important
in passion play music is that the instruments never accompany songs except in
rare
cases when the flute, pipe or the clarinet is played to accompany the singer.
Lack of accompaniment of song with the instruments has several reasons which
cannot be
explained here (15).

c. Prayer music

Contrary to Ashurayi music and passion play which are exclusively related to
the Shia faith, prayer music is diversified and is practiced by a considerable
number of
Islamic tribes of Shia and Sunni (Hanafi, Shafeie, Maleki and Hanbali) sects.
Islamic prayer music enjoys the following qualifications:

1. All these musics contain prayer texts.

2. Praying to God, praising the Prophet (pbuh), Imams and the saints forms a
great portion of that music.

3. Praising Almighty God and beseeching his assistance to cope with natural
calamities and catastrophes is another section of such Music.

4. All the different types of music are songs and contain texts.

5. The songs are chanted in three manners:

a. Solo songs

b. Chore music

c. Exchange of songs between solo and chore singers

6. The place of performance of prayer music is varied and includes mosques,
Tekieh (religious theater), Hosseinieh, houses, open fields and any other
place.

7. The music is conducted with complete peace of mind and as a result few
prayer musics lead to excitement.

8. The melodies have hymns and little cadence and the musical sounds are often
interconnected and continued and the voice structure is not too expanded.

9. The ranks employed are varied and at the same time simple. They are ranks
used in Iranian musical divisions. Some music ranks employ local melodies in
different
regions and some follow ancient Iranian musical ranks. Nevertheless nowadays we
have a lot of prayer musics which is based on Arabic musical ranks.

10. Some prayer musics are comparable to the religious music used by other
religions in Iran such as Zoroastrians and Christians.

11. From rhythmical point of view prayer music is divided into two main
categories: b. Those which follow specific meter. Examples are certain praise
recitals,
pilgrimage songs and prayer for chapters and incantations or recitals done
mechanically. 14. The majority of such musics are performed by ordinary people
and for that
reason they have little cadence, limited sound structure and connected
intervals. Simplicity of the rank from the point of view of intervals,
simplicity of rhythm, slow
tempo and little writing or decoration in the songs, are the characters of
prayer music which aims to create a peaceful atmosphere of contemplation and
concentration on
the text.

What has been mentioned above is part of the general qualities that we have
observed in prayer music.

Quran recitation, recital prayers, communion, pilgrimage songs, call for prayer
(Azan), commendation, incantations, and periodical prayers are examples of
prayer musics
which are more popular. Some prayers are connected to the nature. These prayers
are related to laudation and commendation of the nature (prayer for seasons) or
they
demand boon from God during natural catastrophes (such as praying God to avert
drought, prayer for rain, prayer to avert lunar or solar eclipse, or protect
the people
from harmful beasts, etc.).

An examination of this sort of music in Iran is important from different
angels. The religious/ritual feature of many of these prayer musical pieces
have ensured their
promulgation from the inundation of time. Since this type of music has a wide
and varied social audience and the narrators largely come from the ordinary
masses, they
have remained immune from the invasion of professional musicologists.

In some Islamic prayer melodies we come across melodies which lead us to our
ancient culture. Some rare Quran recitative songs are explicitly comparable to
Zoroastrian hymns. Surely the similarity is only in the province of melody and
not in the text. During my research I have seen rare examples of Quran
recitative melodies
and some prayers, pilgrimage songs or eulogies which closely resemble the
ranks, breaks, rhythm, and time length of Avesta and gatha recited by
Zoroastrian Mubids. A
study of this phenomenon has historical and cultural significance from the
musical point of view and not religion.

Nevertheless nowadays many examples of prayer musics follow Arab musical
patterns. An imitation of Arabic music particularly in the recitation of the
Quran and
singing of Azan is due to the following reasons:

1. Technical influence of Arab prayer narrators and singers in the past
centuries. 2. Seclusion of many genuine prayer narrators in the Iranian
villages which closely
follow Iranian music.

A research, registration and propagation of models of prayer music based on
Iranian ranks is important and needs a lot of patience and investment.

Many narrators and singers of prayer music believe that since many texts
including Quranic texts and recitative pieces are in Arabic language, they must
necessarily
follow Arab music. But the existence of many Iranian musical tones and versions
in these prayer songs has proven that this is a mistaken assumption.

Footnote:

1. See Chelkovski Peter, Ta'zieh, Native Iranian Art, translated by Davood
Hatami, Science and Culture 1988, p. 10.

2. See Chelkovski Peter, Ibid., Ta'zieh and Lamentation Rituals in Iran Before
Islam, written by Ehsan Yar Shater, p. 128, History of Bokhara, p. 24.

3. For further information see Darvish Mohammad Reza, Introduction on
Recognition of Iranian Local Musics, first volume (Hormozgan, Boushehr,
Khouzestan), Music
Department of the Art Bureau, 1994, pp. 55 and 59.

4. Mahjoob Mohammad Jafar, Publication No. 3. of Shiraz Arts Festival, 1961, p.
1..

5. Chelkovski Peter, Ta'zieh, An Advanced Iranian Native Music, translated by
Davood Hatami, Science and Culture 1988, p. 9.

6. Mahjoob Mohammad Jafar, Ibid.

7. Chelkovski Peter, Ibid. p. 12.

8. Chelkovski Peter, Ibid, Revolution in Ta'zieh Literature and Music, written
by Enayatollah Shahidi, p. 71.

9. Bektash Mayel, Ghaffari, Farrokh, ibid p. 6 11. Chelkovski Peter, Ibid, p.
12.

12. Beizayi Bahram, Theater in Iran, 1965, p. 120.

13. Chelkovski Peter, Ibid, p. 72.

14. For further information refer to sources mentioned in this article as well
as Darvish Mohammad Reza, A Glimpse at Arab Music (the influence of Arab music
on
Iranian music) Mahoor, 1994, p. 13.

15. For further information on Ta'zieh music see Darvish Mohammad Reza, A
Glimpse at Arab Music (influence of Arab music on Iranian music), Mahoor, 1994,
pp.
135 and 145.


Hot BarBari

unread,
May 17, 2002, 11:05:01 PM5/17/02
to
"La6red9nec" <la6re...@aol.com> wrote in message
news:20020517205523...@mb-ce.aol.com...

>
>
> /*
> I hope the self-hating anti-Iranian parasites whose sole purpose
> in life, as paid agents of the enemies of Iran and Iranian culture, is to
> lie and spread disinformation about Iran and it's glorious culture

Hey IRI supporter he is calling you!

> pay attention.
> This is just to discredit them yet again in the eyes of the readers of
this
> forum.

No many IRI ass lickers left here, buy anyway go ahead...

> I especailly not the date that is quoted as the start for Ta'zieh, 10th
Century
> AD, for that SJDG drunkard kooni who claims to "understand" music,
> HAHAHAAHH!!!!!!!!!!
> ANd for the sag bahai kooni who wonders why Beverely's company is
interested
> in showcasing such an accomplished art from from the Islamic Iran,
LO!!L!L!L!L!
> See self-hating anti-Iranian to the bones they are.
> shAshidam to halgheshoon.............for the nth time :))))))
> Enjoy!!!!!!!!!!!!!
> */

I remember the day when I was just a teenager in Tabriz just after Shah
escaped Iran. A close friend of mine was in to demonstrations and used to
come and describe what he had go up to later on the day. That day I saw him
really troubled. He described in details how people mutilated someone they
believed who was a Savaki. He told me how a few bashed him unconscious and
pissed on him then cut his penis and stuff it in his mouth and then tied his
neck to the back of a car and dragged him on the streets. Then dumped him an
gutter.

You remind me of those people. I tell you back then people were just
unhappy. Today people are hungry for blood. Shah had a lot fewer victims
then the criminals in charge in Iran today.

May God have mercy on you and your friends, because people won't. Tehran's
street gutters will run with the blood of mullahs and talabes and akhoond
lovers.


La6red9nec

unread,
May 18, 2002, 12:34:45 PM5/18/02
to
>Subject: Re: Islamic religious music in Iran
>From: "Hot BarBari" hotba...@yahoo.com
>Date: 5/17/2002 8:05 PM Pacific Daylight Time
>Message-id: <ac4h01$f7v$1...@perki.connect.com.au>

Fuck off ozgal, or excuse me keeram to maghzet ozgal, this is about music, talk
about that or shut up!!!!!!!!!!!!!!!!


sirknight67

unread,
May 18, 2002, 11:00:00 PM5/18/02
to
I'll give you Music Madar Jendeh sang parast, the music of me slapping my balls
against your sweet lips madar jedne hezbolla kosskesh !

Hot BarBari

unread,
May 18, 2002, 11:05:59 PM5/18/02
to
"La6red9nec" <la6re...@aol.com> wrote in message
news:20020518123445...@mb-fv.aol.com...

avalandeh ke, I wouldn't even dream of fucking a piece of garbage like you.
So don't ask me to fuck off. I wasn't fucking you in the first place anyway
to fuck off. Just look back see who is fucking you. Ask him to fuck off. It
is not me. If you don't know English, don't use it.

I think the galaadeh on your red neck is just too tight and is blocking the
blood getting to your rotten brain of yours. I only read the first couple of
paragraphs of your message and saw nothing about music.


La6red9nec

unread,
May 19, 2002, 2:52:04 PM5/19/02
to
>Subject: Re: Islamic religious music in Iran
>From: "Hot BarBari" hotba...@yahoo.com
>Date: 5/18/2002 8:05 PM Pacific Daylight Time
>Message-id: <ac74u4$gpv$2...@perki.connect.com.au>


Fuck off ozgal, excuse me keeram to maghzet, either talk about music or stay
quiet!!!!!!!!!!!!!!


La6red9nec

unread,
May 19, 2002, 2:58:47 PM5/19/02
to
>Subject: Re: Islamic religious music in Iran
>From: sirknight67 sirkn...@prodigy.net
>Date: 5/18/2002 8:00 PM Pacific Daylight Time
>Message-id: <3CE71767...@prodigy.net>

>
>I'll give you Music Madar Jendeh sang parast, the music of me slapping my
>balls
>against your sweet lips madar jedne hezbolla kosskesh !
>

I shall play a "ferdog", assuming you know waht it is ablah, on your graveyard
after I shit dance on your grave :)))))
Dar zemn reedam beh Darbe Mehret!!!!!!!!!!!!!!!!!!

La6red9nec

unread,
May 20, 2002, 1:38:22 AM5/20/02
to


Re-Post in case some were too drunk & missed it the frist time around :))))

/*
I hope the self-hating anti-Iranian parasites whose sole purpose
in life, as paid agents of the enemies of Iran and Iranian culture, is to
lie and spread disinformation about Iran and it's glorious culture

pay attention.
This is just to discredit them yet again in the eyes of the readers of this
forum.

I especailly not the date that is quoted as the start for Ta'zieh, 10th Century
AD, for that SJDG drunkard kooni who claims to "understand" music,
HAHAHAAHH!!!!!!!!!!
ANd for the sag bahai kooni who wonders why Beverely's company is interested
in showcasing such an accomplished art from from the Islamic Iran, LO!!L!L!L!L!
See self-hating anti-Iranian to the bones they are.
shAshidam to halgheshoon.............for the nth time :))))))
Enjoy!!!!!!!!!!!!!
*/

(Excerpted from an article by M.R. Darvish, 1997)

Arjang Aarjan

unread,
May 20, 2002, 1:47:09 AM5/20/02
to
"La6red9nec" <la6re...@aol.com> wrote in message
news:20020520013822...@mb-mh.aol.com


> Re-Post in case some were too drunk & missed it the frist time around :))))
-
yap, long as men sing 4 men and women 4 women and there'd enough chest
beating during 'ashurai' music! there is no qustion in iran's rich
culture
and heritage in fine music, it is the iri goons who r faaking it up so
it could fit their deranged type of islam.~~~<>RJ<>


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Ariamehr

unread,
May 20, 2002, 2:10:29 AM5/20/02
to
Kosskhol,
nobody missed it but no body gives a shit to what you say anyway. hehehe so
get lost .

Ariamehr

"La6red9nec" <la6re...@aol.com> wrote in message

news:20020520013822...@mb-mh.aol.com...

Peacock

unread,
May 20, 2002, 9:56:20 AM5/20/02
to
Thank you. I don't even see his posts anymore.

"Ariamehr" <Aria...@newsranger.com> wrote in message
news:pr0G8.18157$15....@www.newsranger.com...


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