A qualitative analysis of the divergence of the Iranian musical auditory culture from its authenticity in the second Pahlavi era

The culture of a nation or country can express customs, traditions, and values that are formed on the basis of behavioral interactions of the same nation or country and have undergone an evolution, confrontation, or exchange. Auditory culture is considered as one of the sub-branches of culture, of which the musical auditory culture is one of its branches. The reasons for the divergence of musical auditory culture from the Naseri Period began with the entry of military music into the body of Iranian music, and factors such a modernism, religious ceremonies, the omission of Iranian instrument instruction, and the spread of note-based instruction are considered to be the main reasons for this occurrence. This article investigated the reasons for the divergence of Iranian musical auditory culture from its cultural and artistic originality from the Second Pahlavi Period to the 1979 Revolution. The method of analysis of this article is qualitative and, in nature, it is historical and descriptive-analytical. The necessary data has been collected through library research. The results showed that since the Second Pahlavi Period until the Revolution of 1979, radio and television, performance halls and cafes, recording and broadcasting of musical works, and cultural centers were also added to the previous four factors.  Although efforts were made to revive Iranian music, such endeavors could not offer the necessary resistance against the wave that carried non-Iranian music. Therefore, Iranian music continued in parallel with the contexts upon which western music was presented.