The study of the sing music of the passion play of martyrdom of Ali Akbar Excellency based on the performance of Sarkhong's passion play group

Passion play has bestowed significant values to the collection of Iran’s literature and art which the appearance of first forms of written dramatic literature، the manifestation of the forms and methods of special performance and rhetoric in theater art or dramatic arts، and preserving and persistence of positions and music hints in Iran›s traditional and national music are among the examples of these significant values. Although for some reasons music tuned by instrument in passion play wasn’t so prevalent; but the sing music at least traversed its developmental path from Qajar era to onward. Tragedians in passion plays performed their roles in a best way by being so familiar with the knowledge of Iranian traditional music. One of the main points which are being noticed very little in Shabih، (the religious theater in Iran including passion play or the tragedy Shabih or comic Shabih) has been the recording and maintaining of traditional sing music based on geographical performances in various parts of the country. In this article from the course of inspecting the theoretical principles of research، the full melody of “the passion play of the martyrdom of Ali Akbar Excellency” has been thoroughly considered on the base of the performance of Sarkhong’s passion play group from the view of performed sings. The performance of sing music of this passion play has been in musical melody with turnings of sounds in Bayat Turk، Shoor، Afshari، Dashti، Homayooun، Chahrgah، Segah، and Mahoor.