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Achaemenid music

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A Karnay metal trumpet, dating to c. 500 BCE of the Achaemenid Empire

The Achaemenid Empire, a major state of ancient Iran, lasted from 550 BCE to 330 BCE, in which music played a prominent role.

Background

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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

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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] 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

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Citations

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  1. ^ a b c Lawergren 2001, §1 "Introduction".
  2. ^ a b Miller 2012, p. 3.
  3. ^ During 1991, p. 39.
  4. ^ Lawergren 2001, §2 "3rd millennium BCE: (i) Arched harps".
  5. ^ Lawergren 2001, §2 "3rd millennium BCE: (ii) Bull lyres, (iii) Trumpets".
  6. ^ Lawergren 2001, §3 "2nd millennium BCE: (ii) Lutes".
  7. ^ Lawergren 2001, §4 "1st millennium BCE: (i) Elamite harp ensembles".
  8. ^ Miller 2012, p. 10.
  9. ^ a b c d Lawergren 2001, §4 "1st millennium BCE: (iii) Achaemenid period, 550–331 BCE".
  10. ^ a b c Farhat 2004, p. 3.
  11. ^ Zonis 1973, pp. 28–30, 150.
  12. ^ Jacobs 2021.
  13. ^ Herodotus 1920.
  14. ^ Boyce 1957, pp. 20–21.
  15. ^ Lawergren 2000, p. 77.
  16. ^ Blum 2001.
  17. ^ Lawergren 2003.

Sources

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Early

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  • 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

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Books
Articles

Further reading

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  • 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.