The Bakhtiari are noted in Iran for their remarkable music

  

Nariman Fazeli

Chovil

The Folk Music of  Bakhtiari

Tracks:

01 - Gol Shirin
02 - Balal Gol Va Ahay Gol
03 - Cheshmeh Kohrang
04 - Tiyam
05 - Bi Kalam
06 - Gol Be Khare
07 - Lalaei Khaf
08 - Chovil

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 The Bakhtiari tribe, which numbers more than 800,000, inhabits an area of approximately 67,000 sq. km (25,000 sq. mi) that straddles the central Zagros Mountains in Iran. Although only about a third of the tribe is nomadic (the rest are settled agriculturists), the nomads embody the Bakhtiari cultural ideals. They specialize in producing meat and dairy products and migrate seasonally with their sheep, cattle, or goat herds from high plateau pastures, where they spend the summer, west of the city of Esfahan, to lowland plains in the province of Khuzistan for winter herd grazing. Their migration is among the most spectacular known among nomadic paternalists anywhere. They are obliged to cross mountain passes at about 3,050 m (10,000 ft) and therefore have to time their movement with extreme care in order to minimize the danger of early snowfall, flooding mountain rivers, and lack of grazing. Traditionally these dangers took a heavy toll, but in recent years the government has helped the migration by building bridges, improving the route, and setting up fodder supplies en route.

source

wiki

  

picture source 

 Bakhtiari Music

 The Bakhtiari are one of Iran’s native peoples. The nation comprises the Khaftlang and Chaharlang tribes, which live in the provinces of Chaharmahal and Bakhtiari, Isfahan and Loresân. Chaharmahal and Bakhtiari province is located in southwest Iran. The Bakhtiari dialect belongs to the group of Western Iranian languages, and its speakers have a rich and flourishing traditional folk culture.

Music is one of the most important elements of traditional folk culture, as it displays the intellectual values and character of the people.  Bakhtari music is among the richest and most extensive varieties of Persian maqam music.

The traditions and customs of the Bakhtiari are reflected in the names of their maqam. In the musical terminology of the Bakhtiari people, ‘maqam’ usually means ‘tune’ (not a specific tonality or ‘mode’ as it is typically interpreted, but an entire system of pitches and pitch relationships), since for them the word maqam implies an established musical text, which might vary in character, form, and even genre.

The maqam are formed on the basis of traditional Persian system-scales (Dastgah). The most predominant among these are Shur, Avaz-e Dashti, Avaz-e Shushtari, Dastgah-e Chahār’gāh, and Se’gāh.

Although Bakhtiari music has much in common with the musical culture of other regions of Iran, much distinguishes it, as well, including dialect, instrumentation, and the method of transition from one maqam into another.

The instruments most frequently used in Bakhtiari music are the sornā; korna; ney; dayereh; dohol; and kamancheh. The kamancheh, apparently was first used at a later period than the others. In the past decade, many toushmali, i.e. Bakhtiari musicians, have played the tār and tombak in addition to the instruments listed above.

Like the music of other regions of Persia, that of the Bakhtiari can be classified in various ways and according to a number of parameters. There is distinct music for festive occasions, such as weddings or funerals; there is music to accompany recitation of epic poetry; and there are songs to accompany work, among other genres.

source

Sornā

wiki 

 
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