It is a pity that the literature on the techniques and schools of Persian art of singing is so few and disperse. Although the scholars roughly divide the art of singing in Persian classical music into three different styles, namely Tehran, Esfahan and Tabriz (after the cities in which these styles were predominant), the features they count for each one are to a large extent vague and sometimes contradictory. Probably this classification was mainly based on the towns where the courts of ruling royal family were placed in each historical period. Besides, there are some disputes - it not prejudices - that make it difficult to distinguish these styles: the supremacy of the school of Esfahan; doubt on the very existence of "the school of Tehran"; the quarrel between Tabriz and Qazvin over the style by which the great singer, Eqbal Azar, is to be acknowledged; as well as countless contentions on whether or not this or that singer belongs to a certain school.
So it is argued nowadays that considering these "discrepancies" presenting a totally acceptable definition for these categories of styles and identifying them are somehow impossible. When the things are not entrusted and reffered to dull and subjective criteria, the melismata (tahrirs) used in the singing of each school, and the connection between music and poetry are two of the most important criteria by which this categorization could be justified. School of Isfahan, represented by Seyyed Rahim, Taj Esfahani, Taherzadeh, and Adib-Khansari, are characterized by the diversity of tahrir (melismatic coloratura singing), delicate modulations, a serious concern for the poesie and its rendering. For the two remaining schools - Tehran (Hasan Qassab, Amir Qasemi, Davami, Zelli and, paradoxically enough, Taherzadeh and Adib-Khansari) and Tabriz (Aqa Hoseyn and Eqbal Azar) - only remain some small contributions, respectively the emphasis on the radif  (in Tehran) and highly technical melismatic singing (in Tabriz).
The present collection begins with Seyyed Rahim (b. 1890) and ends with M.-R. Shajarian (b. 1940). Ostad Shajarian himself provided us with his technical ideas in collecting the artists of this volume. After Aref Qazvini and Qamarolmoluk Vaziri, Shajarian is the most loved singer in the history of Persian classical music. And no one except him has exerted a deeper influence on the musical taste of Iranian audience. It is through his celestial voice that we find a greater concern and passion for our vocal music heritage. So we heartily acknowledge his help to provide the present collection and by his permission we dedicate it to "Shajarian: The Mastersinger of Persian Classical Music".