Music in Afghanistan

Farsi | English

By: Vaheed Kaceemy

Music in Afghanistan roots its origins centuries back to the ancient era. Historical records (i.e. Arian literature) prove that both music and dance existed during the pre-migration Vedic epoch in the vast highly mountainous territory, currently called Afghanistan.

Poetry composing and reciting have also been a long-practicing tradition, mainly carried out in family setups transferring from generation to generation as a cultural custom.

According to the preceding source, a range of Vedic songs and Zoroaster gathas (sacred hymns) were created in this part of the world.

It is also believed that the tune of flute was widely enjoyed in both the residence and in court of Yama, the very first king in Bactra (aka Balika), which is the present day Balkh.

The presence of the aforementioned gathas and songs prove the existence of music as an "additive" to poetry and recitation.

Arian sultans had the habit of inviting musicians to perform when royal families and high-ranking officials were having meals, to make the atmosphere more pleasant.

Some figures, such as music-players of the ancient Bamiyan valley where two giant Buddhas were carved, are indeed living proofs indicating the bloom of music in the pre-Islamic era in this region.

Various names, such as Bactra, Balika, Bokhdi, Balkh, Ariana, Khurasan, Sistan, Takharistan, Turkistan, Zabul, Samangan, Ghazna, and Koshan civilizations, geographically and historically specify the location recognized as present Afghanistan.

Furthermore, the field of music in neighboring and distant regions, such as India, Iran, Arab, Tajikistan and even Greece, is interrelated with what we currently consider as Afghan music by any standard.

Music researchers have figured out that century-old music pieces, termed as "Western style" music, were evident in the Nuristan province in northeast Afghanistan.

This can at best be interpreted as:

1) Some resemblance, with unknown reasons, is possible to emerge between two corners of the world that seemingly are poles apart.

2) Social interaction, impressions, and association with elements of human touch may have resulted in such an exchange.

Barbad (or Barbad the Great) was the most famous and skilled court musician of the Sassanid Empire. Barbad is recorded in most documents and has been recognized as being remarkably high skilled in his profession.

Barbad has been given credit for generating an organization of musical systems, which consists of the seven "Royal modes" named Khosrowani, 30 derivative modes named Lahn, and 360 melodies named Dastaan. These numbers are in accordance with Sassanid's calendar of number of days in a week, month, and year.

The great poet and musician of Ghaznavid court, Farrokhi Sistani along with Mohammad Barbati, considered as Farrokhi's master, Rodaki, Avicenna, Abu-Nasr Farabi (the initiator of musical harmony), Amir Ali-Sher Nawai and his master Khwaja Yusuf Burhan Jami also gave their valuable contributions to the music.

"It was after passing the distance between Mash-had [Iran] and Islam Qala in Herat [Afghanistan] that for the first time I heard of Afghan music. Such a wonderful achievement! I found the music neither monotonous nor melancholic. Positively, it was something quite different, but so familiar. The master was reciting poetry after poetry that obviously I was unable to comprehend (the meaning), but did enjoy the way they were presented. It was never like the non-European Western type beyond my taste. I knew it and realized that it was more like a common gatepost between east and west,” wrote Professor Mr G.P Delour.

Professor Hermann Pressel, an Austrian music researcher, also pointed out the poly-phonic style of the pure Nuristan music. He has authored the "Alphabet of Music" in three volumes.

According to Professor Hermann, Afghan music from Badakhshan to Logar and other regions, in some of their old pieces does possess elements of "Church Music", presumably originating from Greece during the invasion of Afghanistan by Alexander the Great.

The influence (and therefore the leaving impression) of Greek-Bactrian civilization and Buddhism during the Koshan and Yaftali era, as well as social relationships or interactions with India and China, seem undeniable when it comes to assess Afghan music.

The conversion of certain kings and sultans to other religions and beliefs (i.e. Zoroasterian and Buddhism) resulted in the modification of religious-oriented music in this part of the world.

Names and categories of improved musical skills and knowledge can be traced in a variety of documents and inscriptions from the time of Ghaznavids and Timurids and such like.

Specific terminologies like musical modes and melodies (i.e. Iraqi, Daudi, Delaram, Shahnaz, Oshaq Hejaz, Negar, Nawa, Humayon, Nairiz), can still be found in the context of Afghan folkloric music at any walk of life and any corner of the country.

Assuredly, a number of countries have systematically classified their music, especially the mode-based ones. Also in Afghanistan, it is clearly known that most sultans until the kingdom of Amir Sher Ali and Abdul Rahman enjoyed the company of musicians, who used to present an assortment of styles and samples (i.e. Shighni, Kandahari, Badakhsi, and Herati – known at that time as Irani).

Well-known music masters performing music, reciting and singing Persian poetry based on essential Indian guidelines included Ustad Qurban Ali, Ustad Se-tar joo, Ustad Karim Bakhsh, Ustad Qasim, Ustad Ghulam Hussain and others.

Ustad Qasim is famous for making significant improvements in Afghan music. He composed innovative songs, mainly focusing on the poetry of Mirza Abdul Qadir Bedil. He also performed Pashto and Dari folkloric pieces based on Indian guidelines, and established his own method known as "the Qasimi style" which is still being followed and observed (with slight alterations) by some present day musicians, composers, and vocalists.

Within the last 100 years, a number of showqi (skilled but non-professional) and amateur singers, who are not trained by music masters, also stepped into the amazing field of music.

This period can be marked by the dynamic presence of Ustad Abdul Ghafoor Breshna of Radio Kabul during the early 1950s. (Afghanistan began Radio Kabul broadcasting in 1925. The station was destroyed in 1929 and broadcasting did not resume until Radio Kabul re-opened in 1940).

As radio reached the entire country, popular music grew more important and ever since the mid-1950s, there have been continued efforts to maintain the process and move on.

Moreover, there were some brilliant figures who had the essential knowledge, skill and background of Western music in more of an “academic” way. Master Farokh Afandi is believed to be the most famous name in this regard. In fact, the Music Collegiate followed the same path.

In general, variables such as as various accents, divergence of intonations in different parts of the country, and an extensive range of musical presentations are being practiced all over Afghanistan.

The native/indigenous folkloric music of Afghanistan has been vividly bricked up on ancient Khorasani Modes. All Hazara, Paktia, Wardak, Jalalabad, Badakhsha, and Uzbik music arrangments do display a certain degree of their own peculiar specifications associated with the Indian guidelines.

Modern popular music did not reach its peak until the early 1960s when radio became commonplace almost all over the country.

It is sad to conclude that neither official, nor individual sources, have ever tried to undertake a research piroject to have an in-depth study in this field.

The present ZeerWaBum site, with its skeleton resources, is starting to present a periodical update and therefore perpetuate Afghan music.