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Thirty Lahn, barbed, Panjah Kabak Dari, the Rāh Ruh/ Rahat al-Rawāh.
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Hossein Meysami *   |
| Art university , meysami@art.ac.ir |
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Abstract: (3775 Views) |
Narrative stories accompanied by music formed a part of the Sasanian court music repertoire. These stories were arranged in two scales, big and small, i.e. 360 Dastān and 30 Lahn, which are attributed to Bārbad, the court musician of Khosrow Parviz. This article emphasizes on the thirty tones of Bārbad, especially the story of Pangeh Kabak Dari/Rāh Ruh. The purpose of this research is to discover the stories and its practical motivation. The research method is based on the description and analysis of content and the method of collecting library resources. The relationship between the titles of the story of the Pangeh Kabak Dari/Rāh Ruh is the most important question of this research. It seems that the original origin of the story of the Pangeh Kabak Dari is Indian and related to the story of the Rāh Ruh/ Rāhat al-Arwāh. The text of the story of Rāhat al-Arwāh has undergone many transformations in different centuries of the Islamic era. It is possible that the Arab translators have chosen the title of the Rāh Rooh/ Rāhat al-Arwāh for that Pangeh Kabak Dari, and the title refers to the wickedness or impurity of the ministers. Based on the content of Rāhat al-Arwāh, it can be assumed that Bārbad had a special goal in mind in choosing this story. The function of this story can be seen as more patience and consideration in choosing the decisions and actions of the rulers so as not to leave inappropriate consequences.
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| Keywords: Thirty Lahn, barbed, Panjah Kabak Dari, the Rāh Ruh/ Rahat al-Rawāh. |
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review paper: Research |
Subject:
Special
Received: 2023/12/26 | Accepted: 2024/05/14 | Published: 2024/05/19
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