Music was one of the first casualties of the Iranian Revolution. It was banned in 1979, but it quickly crept back into Iranian culture and politics. The state made use of music for its propaganda during the Iran–Iraq war. Over time music provided an important political space where artists and audiences could engage in social and political debate. Now, more than thirty-five years on, both the children of the revolution and their music have come of age. __Soundtrack of the Revolution__ offers a striking account of Iranian culture, politics, and social change to provide an alternative history of the Islamic Republic.
Drawing on over five years of research in Iran, including during the 2009 protests, Nahid Siamdoust introduces a full cast of characters, from musicians and audience members to state officials, and takes readers into concert halls and underground performances, as well as the state licensing and censorship offices. She closely follows the work of four musicians―a giant of Persian classical music, a government-supported pop star, a rebel rock-and-roller, and an underground rapper―each with markedly different political views and relations with the Iranian government. Taken together, these examinations of musicians and their music shed light on issues at the heart of debates in Iran―about its future and identity, changing notions of religious belief, and the quest for political freedom.
Siamdoust shows that even as state authorities resolve, for now, to allow greater freedoms to Iran's majority young population, they retain control and can punish those who stray too far. But music will continue to offer an opening for debate and defiance. As the 2009 Green Uprising and the 1979 Revolution before it have proven, the invocation of a potent melody or musical verse can unite strangers into a powerful public.

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Nahid Seyedsayamdost

Siamdoust, Nahid;

Stanford studies in Middle Eastern and Islamic societies and cultures, Stanford studies in Middle Eastern and Islamic societies and cultures, California, 2017

Stanford University Press, Stanford, California, 2017

United States, United States of America

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Includes bibliographical references (pages 327-338) and index.

Contents 10
One. The Politics of Music 14
Two. The Nightingale Rebels 50
Three. The Musical Guide: Mohammad Reza Shajarian 76
Four. Revolution and Ruptures 100
Five. Opening the Floodgates to Pop Music: Alireza Assar 122
Six. The Rebirth of Independent Music 170
Seven. Purposefully Fālsh: Mohsen Namjoo 196
Eight. Going Underground 222
Nine. Rap-e Farsi: Hichkas 248
Ten. The Music of Politics 276
Acknowledgments 296
Note on Transliterations and Translations 300
Notes 302
Select Bibliography 340
Index 352

2018-03-17