Beyond Sound: Exploring True Essence of Mystical Music in Iran
Numerous groups have emerged under this label; posters are filled with sacred words such as “sama,” “mystery,” “prayer,” and “mysticism.” Many works, with just a few traditional instruments and moments of silence between notes, claim to belong to the realm of mystical music.
But the real question is: Can mysticism be deliberately added to music?
Is it enough to hold a tanbur, recite a few ancient verses of Rumi or Hafez, and play the daf in a gentle rhythm to make our music “mystical”? Or does this word carry a deeper meaning that arises from the artist’s lived experience, thought, and inner being?
Historical and Conceptual Roots
To truly understand mystical music, we must return to the root of the word “erfan” (mysticism). In its original sense, erfan means direct and intuitive knowledge of the essence of existence. The mystic is one who connects with truth through the heart rather than the mind.
Therefore, any art that springs from such a state of being can reflect mysticism within itself—but this mysticism lies in content and intention, not in the form or appearance of the work.
In the history of Iranian music, many examples of this meaning can be found—from the ritual melodies of Khorasan and the Kurdish regions to the maqami songs of Khuzestan and Gilan. All contain a mysterious sense of the human and the divine within them. Yet none were explicitly called “mystical,” because their creators believed that music itself is the language of the soul and needs no label.
Inner Essence, Not Outer Tools
Many scholars believe that mystical music reveals itself not through instruments or structures, but through the spirit of its creator. As Majid Kiani, the santur master and teacher, recently said:
“The Persian radif–dastgah music inherently possesses a divine and elevated soul. When played properly, it naturally brings a spiritual state to the listener—there is no need for verbal description.”
From his and other scholars’ perspective, any attempt to intentionally compose “mystical music” is conceptually mistaken. Just as one cannot decide to create a “romantic work” without ever having experienced love, one cannot produce “mystical music” without walking the inner path of spiritual discovery.
In truth, mysticism in music is a state of being, not of making. The composer or musician who has achieved inner peace, balance, and a reflective vision of existence will inevitably create works that radiate spirituality—without ever intending to label them as mystical.
Instruments and the Great Misunderstanding
One of the common errors in today’s musical scene is turning certain instruments into symbols of mysticism. The daf, tanbur, ney, and santur all have deep roots in Iran’s ritual and folk traditions—but their mere presence does not make a work mystical.
The daf, for instance, can be played in a sama ceremony so powerfully that it transports the listener beyond the self—and in another performance, the same instrument may become nothing more than a loud tool for attention-seeking. The difference lies in the intention and awareness of the performer, not in the sound itself.
Many young groups today who call their work “mystical music” rely only on the appearance of these instruments, imagining that by combining a few folk melodies and Sufi poems, they can create a spiritual piece. Yet true mysticism in art arises from lived inner experience—from suffering, doubt, love, and revelation. Without such depth, music becomes only a superficial imitation of spirituality.
The Bond Between Music and Inner Journey
In exploring mystical music, perhaps the most crucial question is:
How can one approach a mystical experience through music?
The answer lies within the music itself. When the artist transcends the self, when sound flows beyond personal will and becomes the natural expression of intuition and feeling, music takes on the color of mysticism.
Such moments can be heard in the singing of Mohammad-Reza Shajarian, the ney playing of Hassan Kassai, or the tanbur of Seyed Khalil Alinejad—moments when the boundary between musician and melody disappears, and sound becomes the voice of the soul.
In Sufi traditions, music is a means for sama—not entertainment. Sama means listening to the truth from within. The daf here is not an instrument, but a vessel for presence and self-effacement.
From this perspective, mystical music is not a separate genre or style, but a spiritual state and experience that can appear in any form—from classical vocal dastgah to folk tunes, from improvisation to even modern compositions.
Critique of the “Manufactured Mysticism” Trend
The reality is that in recent years, the term “mystical music” has become a marketing slogan. Groups and singers who use a few traditional instruments and Sufi poems often seek popularity and sales more than they seek spiritual transmission.
Such works create fleeting and surface-level emotions rather than deep reflection. Mysticism becomes stage decoration rather than the soul of the art.
In contrast, there are artists who work quietly and sincerely, without claiming titles. Their music, as a result, carries an unspoken purity and calmness.
One might say that mysticism enters music when intention disappears—when the goal is not to display spirituality but to live it in each moment of creation.
Mystical Music and the Modern Listener
The listener of today also plays an essential role. They must understand that mystical music is not meant to be “exciting” or “spectacular.” It is an invitation to introspection, silence, and contemplation.
A listener approaching it with a restless mind and the expectation of entertainment may find it dull.
But for one who seeks a moment of inner peace or a bridge between self and the inner world, such music can be a profound and transformative experience.
The Future Horizon
To rescue mystical music from slogan and return it to authenticity, we must begin with education and cultivation.
Artists must first become familiar with the cultural and philosophical roots of Iranian music. Understanding the dastgah system, improvisation, classical poetry, and Eastern philosophy are all essential foundations; without them, no true spirituality can emerge in art.
At the same time, the cultural environment must move away from shallow mysticism and symbolic appearances, and instead, give space to sincere artists who work with honesty, thought, and lived experience.
Conclusion
Mystical music is neither a musical genre nor a set of rules or instruments. It is a state of human existence in the world—a state in which melody becomes the mirror of the soul.
If an artist walks the path of self-knowledge and awareness of being, every sound they create will be mystical, even if played on a guitar or piano. And if that awareness is absent, no daf, ney, or invocation of Rumi can elevate the work from surface to depth.
As Majid Kiani says: “When Persian music is performed with honesty and understanding, the spirit of God naturally flows through it.”
Ultimately, mystical music is not something one composes—it is something one lives.
For mysticism does not reside in the melody, but in the musician who loses themselves within it.
By Alireza Sepahvand
The views and opinions expressed in this article are solely those of the author and do not necessarily reflect the views of International Quran News Agency.
