Radif of Persian music is the traditional repertoire of the country's classical music, which forms the essence of Persian cultural history. The repertoire consists of more than 250 melodic units, called gushe, which are arranged into cycles. These units are provided with an underlying modal layer providing a backdrop for a variety of melodic motifs. Traditionally, musicians taught the music of Iran using maqams. However, when scales changed into patterns, they taught gushe as a sub-branch of seven patterns. During the 14th and 15th centuries, during the Timurid period, this process took place. Raphael Georg Kiesewetter explains that it was conducted as a way to introduce each element of Iranian music at a time. This process continued gradually over the Safavid and Qajar periods. However, during the late Qajar period, a specific instrument was used called the “radif”.
While the main performance practice for Iranian traditional music involves improvisation based on the mood of the performer and the audience, musicians spend years mastering the use of the radif as a musical tool for performances and compositions. Radif is usually performed as an instrumental piece, employing a variety of instruments as well as a variety of performance techniques, including the use of long-necked lutes such as the tror and the setār, as well as the use of hammered zithers, spike fiddles, and reed pipes. There are several different dastgahs within each radif, which differ in their relationship to note intervals as well as how their melody is traversed.
Each dastgah depicts a specific sonic space, with approximately 10 to 30 goushehs (melodies). The principal goushehs indicate the different scales within the dastgah. The notes are usually the center of the gousheh, and a shahed note is often used to reference the note. In the shahed, movement is created when we modulate between the principal goushehs, affecting these melodies. There are three different forms of rythmic: symmetric, asymmetric (lang), and free form. Rhythmically, vocal and instrumental radifs differ in melodic structure, but they are similar in terms of melodic structure.
The radif, which represents the aesthetic practice and philosophy of Persian musical culture, is passed down orally from master to disciple. For several years, students can dedicate themselves to memorizing the repertoire and to self-devotion as a way to open the gates to spirituality. This rich heritage of the Iranian people lies at the heart of Persian music, reflecting both the Iranian national identity and cultural identity. Following the 1979 revolution, when the people's taste in music changed and cultural changes occurred, a favorable environment was provided for the growth of traditional Iranian music. The Iranians showed an intense interest in this style of music. A lot of Iranian music concerts are being held in different parts of Iran. The different styles of music have their fans, and many people would like to attend Iranian traditional concerts to hear the performances of their favorite musicians and singers.