¹ See, for instance, Awfi, 1957, p. 18.1
² Pourdavud, 1952.2
³ Safa, 1962, vol. 1, p. 15.3
⁴ The poetic nature of these works is still being debated. See, for instance, Khanlari 1967, p. 37.4
⁵ Qazvini, 1954, p. 34ff.5
⁶ The author of the History of Bukhara mentions this but does not record the song.6
⁷ Yaghma, 11/7, p. 289.7
⁸ Shafaq, 1938, p. 24.8
⁹ Safa, 1954, vol. 1, p. 154.9
¹⁰ Safa, 1962, p. 9.10
¹¹ Of course, it seems as if it had been four centuries, but the actual independence of Iran and revival of Persian does not begin until the beginning of the third century AH. 11
¹² Mu'in, 1950, pp. 25-31.12
¹³ Mas'udi, 1938, pp. 45-6.13
¹⁴ Huma'i, 1962, p. 180.14
¹⁵ Bahar, Shi'r dar Iran, p. 15.15
¹⁶ Safa, 1962, vol. 1, p. 24.16
¹⁷ Ibn-i Khurdadbih, 1886, p. 118.17
¹⁸ See, for instance, Safa, 1962, vol. 1, p. 31; Safa, 1957, vol. 1, p. 157, Huma'i, 1962, vol. 1, p. 187.18
¹⁹ Bahar, Shi'r dar Iran, p. 25.19
²⁰ For Khusrau Parviz and Borbad see Part One of this study (ed.).20
²¹ Awfi, 1957, p. 21.21
²² Safa, 1957, vol. 1, p. 561.22
²³ Mu'in, 1958, p. 44.23
²⁴ Browne, 1919, p. 30.24
²⁵ Ibid, p. 26.25
²⁶ Christensen, p. 507.26
²⁷ Mas'udi, 1938, pp. 455-56.27
²⁸ Ibn-i Khurdadbih, 1961, p. 15.28
²⁹ Bahar, 1945, p. 13.29
³⁰ Huma'i, 1962, p. 182.30
³¹ For further information, see Dehkhuda, 1957-1975.31
³² Ibn-i Khurdadbih, 1961, p. 16.32
³³ Akhavan-Salis, Yaghma, pp. 499-505.33
³⁴ Ghulam Hussain Yusefi, states that Dari must have been prone to accepting the metric system. He adds that not all languages have the flexibility to do that.34
³⁵ Huma'i, 1962, pp. 4, 183.35

Notes:
The Musical Culture of Iran at the Beginning of the Middle Ages
(4th-8th Centuries)

¹ In western literature on the caliphs, AD 833 is the recorded date for the death of Caliph al-Mu'tasim (ed.).1
² Ibn-i Qutaiba, 1986, pp. 48, 72.2
³ Nizami Aruzi Samarqandi, 1986, p. 33.3
⁴ Albaum, 1975, pp. 128-29.4
⁵ Bal'ami, pp. 161a and 162a.5
⁶ Ibid., p. 162a.6
⁷ Staviskii, 1960, pp. 108-110.7
⁸ Ghafurov, 1983, p. 298, 330-333.8
⁹ Bentovich, 1976, pp. 368, 370.9
¹⁰ Belenitskii, 1959, pp. 79-81; L. I. Albaum, 1960, pp. 69-71; Ghafurov, pp. 366-369.10
¹¹ For details, see the illustrations accompanying Ya'qubshah's "Image of Funerary Dances on Sughdian Ossuaries" in the present volume (ed.).11
¹² Albaum, 1960, pp. 99-100; Albaum, 1975, pp. 74-79.3
¹³ Note that the dynasty referred to belongs to the Southern Dynasties (AD 420-589) rather than to the dominant Sung Dynasty (AD 960-1279) (ed.).13
¹⁴ Possibly Tian-Jia's second year of reign (ed.).14
¹⁵ Possibly "Zi-ye-ge" of the southern Dynasties (ed.).15
¹⁶ Riftin, 1960, pp. 121-123; Shafer, 1981, pp. 86-87.16
¹⁷ Shafer, 1981, pp. 82-83.17
¹⁸ Riftin, 1960, pp. 124-125.18
¹⁹ Hsun Tsung (AD 712-756) (ed.).19
²⁰ Shafer, 1981, pp. 83-85; Riftin, 1960, p. 126.20
²¹ Ibid., pp. 86-89.21
²² Ibid., 1981, p. 86.22
²³ Riftin, 1960, p. 129; Shafer, 1981, pp. 86-91.23

Notes: Music in the Shahname
¹ For zamzamkhani, see Nizami, 1994, pp. 264-270.1
² Munajjim, 1964, p. 6.2

Historical Traditions of the Time of Rudaki

¹ For a discussion of the role of Iranian music at the court of the caliphs, see Ismamatov's "Musical Culture of Iran at the Beginning of the Middle Ages," in this volume (ed.).1
² For a discussion of turanah, see Gulsurkhi's "Music in the Shahnameh," in this volume (ed.).2
³ He also occupies a special place in the history of the development of our vocal music. Furthermore, since Borbad's compositions have consisted of a serial nature, they couldwell be the initial steps for the creation of the pardahs and maqams of Iranian music. The Khusravani-Borbad series is, thus, the initial step in the formation of the twelve pardahs and the twelve maqams.3
⁴ Cf., Shafi'i Kadkani's view on the syllabic nature of Sassanian poetry in "Borbad's Khusravanis-First Iranian Songs," in this volume (ed.).
⁵ Cf., Gulsurkhi's discussion of the "predecessors" in this volume (ed.).5
⁶ For Khusrau II's carpet that took seven years to weave, see Part One of the present volume.6
⁷ See also Rajabov, 1994, p. 261.7

Contradictory Definitions Stunt the Growth of Persian Music at the International Level

¹ The Persian musical tradition is very much like Amir Nader's film called Davandeh or Runner in which an orphan child tries to educate himself.1
² Scholars and poets of the "New Wave" believe that Nima Yushij placed Persian poetry on a new course and moved it in the direction of development and perfection. This, to a great extent, is true because Persian poetry was never an orphan. Besides, the destruction of the libraries did not destroy all the copies of an important work. Someone kept a copy. That is why today we are familiar with Rudaki's words but not with his music.
  On the other hand, we should understand that Iranian society's very attachment to literature is a sign of its backwardness. Otherwise, why should the people of the East only aspire to the Nobel Prize for literature?2
³ Cf. Ibn-i Khaldun, 1967, pp. 136ff.3
⁴ For Ustad Davami see Shahjarian's "At the Side of Ustad Davami," in the present volume (ed.).4
⁵ Khaliqi, Nazari bi Musiqi, p. 323.5
⁶ Mas'udiyyeh, Radif-i Avazi-i Muziqi, p.7.6
⁷ Shirazi, 1967, pp. 15-16.7

The Thoughts of the Masters of Monody Music

¹ Ghafurbekov, 1987, pp. 5-88.1
² Nava'i, 1970, pp. 204-205.2
³ Muntakhab-i tarikh-i Adabiyyat-i Uzbek, 1941.3
⁴ Musiqi-i Khalq-i Uzbek, 1955.4

Constructive Customs in the Music and Dance of the Tajiks (19th and 20th Centuries)

¹ Rajabov, A., 1987, pp. 238 and 647.1
² Belinski, 1954, p. 27.2
³ For Alexander the Great and Darius III, see Part One of the present work (ed.).3
⁴ Miniyaturha-i Asiya-i Miyanah, 1964, plate no. 28.4

Taj-i Isfahani

¹ Khaliqi, "Taj-i Isfahani," Radio Iran Journal.1
² Lutfi."Maktab-i Avaz dar Esfahan," Vizhe Nama-=i Marg-i Taj.2
³"Barnama-i Buzurgdasht-i Taj," Radio Alman. 3
⁴ Ibid.4
⁵ Qudsi, "Yadnama-i Taj," Avvalin Salgard-i Darguzasht. 5
⁶ Shajarian, "Dar Sug-i Taj-i Esfahani," Mahnama-i Chiraq. 6

The Role of Surud in the Mughul Dukhtar Legend

¹ Berteles, 1988, p. 519. 1
² Rahmani, 1994. 2
³ As far as theme is concerned, the two legends are not substantially different. They differ, however, in structure, diction, and in their beginning and ending. The Hazara version, for instance, is fuller and the rawi pays attention to style. The Kabuli version is quite different.3
⁴ Rahmani, 1985, pp. 208-229. 4
⁵ Nurjanov, 1994, p. 102.5
⁶ For details, see Nurjanov, 1985, pp. 94-129; 255-256.6

Some Shashmaqam Puzzles

¹ This idiom appeared in Soviet music science at the end of the 1970's.1
² Rajabov, I. R., 1970, p. 104.2
³ It is evident that, in the musical system of the Middle Ages, the term shu'ba has had twelve maqams as its components. This older import, too, is retained in Shashmaqam. More detail will be provided further below. 3
⁴ Zehni, 1979, pp. 243-245; Azizova, 1988, p. 20; Azizova, 1990, p. 62.4
⁵ Azizova, 1994, p. 11.5
⁶ Azizova, 1994, p. 11.6
⁷ Depending on the volume and space, one or more bayts of a ghazal can be used in avj7
⁸ Rajabov, I. R., 1969, p. 138.8
⁹ Beliyaev, 1950, p. 20. 9
¹⁰ V. M. Beliyaev calls this type of saqil, ufar of saqil. See Ibid., p. 21.10
¹¹ Shahabov, Personal archives, no. 26.11
¹² Here we are using the word "Lahn" in the comprehensive sense of ahang, maqam, naghma, and nava.12
¹³ Rajabov, I. R., 1970, p. 105; Beliyaev, 1950, p. 14.13
¹⁴ Rajabov, I. R., 1970, p. 128; Beliyaev, 1950, p. 14.14
¹⁵ A. Danielov has observed characteristics of this type in the Indian ragas. He calls it "critical moment."15
¹⁶ Rajabov, I. 1970, p. 5; Karamatov, 1987, p. 10-17. 16
¹⁷ Rajabov, I, 1970; Karamatov, 1984; Jum'aev, 1987, 164-168. Rajabov, A., 1982.17