Balochi music achieved an extraordinary development which is due in great part to a type of artist and artisan cast whose members are called Osta (master) and whose origins are unknown. The Ostas appeared among the Baloch tribes (particularly the Rend), offering to put their music at the service of the tribes ancestral knowledge. Even if the Ostas occupy a modest position, they can at least boast of belonging to prestigious lineages of musicians.

In fact, there are reasons to think that they are the descendants of the Lulis mentioned in the ancient chronicles. In these chronicles, a fifth-century Persian king asked an Indian king to send him musicians so that his subjects could listen to music while drinking their wine. Ten thousand Lulis were thus dispersed over the territory of Iran to put their talent at the service of the people.

It is impssible to verify whether these are the same tribes as those from which the present-day musicians of Balochistan are descended, which would make them descendants of the first Gypsies. In fact, there are many parallels between Balochi musicians and other groups who are also considered to comprise a part of the initial "Proto-Gipsy" nucleus, for example, certain Sindi groups and the castes of Langaw musician of Rajistan.

Genres and Regional Styles
Balochistan can be divided into several musical areas of which the principal ones are the north and the south, or Makoran. In the Makoran, the genres of professional music are:

1. Shervandi - the art of the bards, and the most sophisticated genre, represented by a small artistic elite in the territory's south central region.

2. Traditional wedding choruses (Nazenk) and songs (Sowt, Noqta, Ghazal).

3. Trance music (Guati, Damali, Shikti or Qalandar) with three repertories that correspond to different rituals.

The music of the South of Balochistan grows out of a scale made from 1 semitones, as in the West or in India. There are more than 20 modes (Zahirig), each with its own name, which, by virtue of their character, belong more to the musical sphere of India than to that of the Middle East or the Persian Gulf. By contrast, the rhythm and symmetrical form of the melodies links themto the West, particularly in the old wedding songs.

Finally, certain African elements are perceptible in the trance songs of the Guati ritual. In addition to meters of 6/8 and 2/4, there are extremely subtle rhythms whose groove or swing does not allow them to be reduced to equal measures of 3, 5, or 7.

Festive Songs
Feasts on the occasion of a marriage or circumcision are important social and cultural events in which music plays a large role. Wedding songs in genres called Salonk and Nazenk for the groom and bride, respectively, belong to the most purely Balochi layer of the repertory, which also includes lullabies and funerary chants.

Each stage of the feast corresponds to particular songs. Marriages provide the occasion for singing both Sawts ----popular songs on themes of love and separation, and ghazals, which typically use learned Persian poetry. Most of these traditional songs can be performed by the participants, but these days, hosts prefer to invite a variety of instrumentalists and female vocalists----all amplified----to give more cache to the event.

Even during the intimate ceremonies reserved for women, it is possible to engage a group of male musicians to animate the party. To describe all the stage of a complete wedding would take too long, but brief descriptions of a few of the central events will show how music in involved.

A wedding takes place several days and is announced in the street by performers playing the Sorna, a loud oboe, and Dohl, a drum. In the house of the bride (Banur) a curtain is drawn down the middle of a room, behind which the young woman remains for several days, tended to and fed by 8 or 10 women who are close to her.

Each evening the women feast, sing, and dance among themselves while playing the Dohl and Kuzag, an earthen water jug. Meanwhile, the men have erected a high tent canopy (Tanbu) in the courtyard or in the street and pass the time singing and dancing under it. The first evening, the hands of the bride are decorated with henna (Enny) while the women sing songs (Nazenk) that correspond to this ceremony, as well as other songs. Another evening, they wash, make up, and apply perfume to the bride, all the while singing still other songs. The same scene takes place in the house of the groom.

Nazenk are sung each time he is the object of a particular type of care. After several days, the groom is led to the house of the bride.

This procession provides the occasion for another musical interlude in the street with the groom. After the nuptial benediction, Nazenks are sung, and the party begins.

In present-day Baloch society, wedding songs are constantly being lost, and old musicians deplore the fact that nowadays most of the beautiful wedding song like the Nazenk and Salonk have been forgotten, and people sing whatever they want at wedding ceremonies. Marriage songs are also practiced for feasts given at the time of a circumcision, and the term Salonk, which appears in most of the songs, designated both the groom and the young boy who is at the center of the festivity.

Secular Celebration and Trance Ritual
The performance of music for weddings or circumcisions can also assume the character of trance music through rhythmic acceleration and a narrowing of the melodic range. In this atmosphere, the music elicits bursts of joy and dance, bringing to mind the modes and rhythms of trance music, yet with different texts.

Conversely, certain trance melodies are very close to secular repertories, particularly lullabies and Nazenk, or are simply borrowings, superficially adapted. Music for celebration can lead to a certain excitation and in return, trance music and ritual can animate a celebration. The bride and groom are pampered like a patient undergoing spirit exorcism, and the celebration ends with a good meal. Despite these affinities, however, the two repertories are quite distinct and never mixed together in a ritual.

Trance rituals reserve a central place for music, and integrate elements of shamanism with the traditions of popular Sufism. When someone becomes ill and cannot be healed by doctors, the person is taken to a Khalife (Shaman), and melodies are played which cause the khalife to enter into trance, and manages to treats the sick person, who often himself enters into trance, and manages to appease the evil spirit. Guati-Damali music can also be simply for pleasure, between friends, and without ritual.

Its melodies reflect a simple structure, but abundantly and skillfully ornamented, inspired by Sufi litanies (Zhikr) and the invocations of saints. One type of ritual reveals African stylistic influences: the spirits are of African origin, and certain of the melodies were composed by Balochi musicians of African origin.

Musical Instruments and Rhythm
Preferred instrument of professional Balochi musicians is the Sorud, or fiddle. It is cut from a block of wood (Parpuk, sometimes Mulberry) in a complex shape which suggests a skull and whose soundboard consists of the skin of a gazelle or goat. It is strung with four strings played with a small bow whose sound is amplified by 6 or 8 sympathetic strings. All metered vocal and instrumental performance is accompanied by a rhythmic drone on the large lute called Tamburag, which has two strings, one of which is doubled. Its playing seems simple, but it contains many rhythmic subtleties.

The Benju or Benjo is a dulcimer fitted with a keyboard. It was originally a mere musical toy, but after important improvements made by Balochi craftsmen, it has become a regular part of the Balochi instrumentalism. The Balochi Benju is an imposing instrument----three or so feet in length, with a loud and brilliant sound, and a range of more than two octaves. It can reproduce any traditional style, and these days is found in Sindhi music as well.

The Doholak is a Tambur of Indian origin made from a tree trunk and shaped like a barrel about, 2-3 feet long, the two sides are decorated with skins linked together by strings whose length can be adjusted, permitting the player to adjust the tension.

Summary:
The Balochi tribe is one of the oldest Iranian tribes whose music is influenced by Indian melodies because of being close to India. Of musical instruments in Balochistan one may refer to Tanburak (small guitar), Setar (three stringed guitar), Qalam, a flute with five or seven sections, the pitcher, the oboe, ordinary and small kettledrum, the tambourine and roebuck or Hijdah (eighteen) Tar.

Of melodies popular among the Balochi tribesmen which are sung for a mother who has given birth to a baby, one might refer to Sepad, Vazbad, Shabtagi, Liloo or Looli (Balochi lullaby) as well as songs for separation, complaining about hard times, Zayirak (derived from the world Zahir and meaning longing and sadness) which is the most melancholy Balochi music accompanied by the flute, Gheichak (small scissors) and banjo.

That music which we hear nowadays in Balochistan differs with genuine Balochi music because of many reasons. One of these reasons is the big distance between Balochistan and the capital and lack of attention by former regimes to the impoverished and far flung region. Another reason is that Balochistan neighbors Pakistan and is influenced by Pakistani Balochi music as well as Indian music.

From ancient times this region has had close commercial and cultural ties with India. The Indian influence was also due to the fact that Balochistan was too distant from the central governments in Iran and was ignored by these governments. By exploring the root of such influence we will come across geographical and historical facts. Aside from dynasties such as the Sogdians whose seat of government was in Sistan and Balochistan during the second century A.D., lack of roads and communication with interior parts in the country where Iranian culture prevailed, was another reason that physically and spiritually exposed Balochi music to Indian culture.

Although the Balochi tribesmen are strictly religious and fanatic, the musicians are treated as confidantes and intimates and they are permitted to play in private parties where women are also present. However, Balochi women do not play musical instruments and only sing songs mostly in groups and behind the curtain and where their voice cannot reach male ears. One can rarely find a woman in Balochistan to be a professional singer in wedding, birthday, circumcision and other festive parties. The musical instruments through which the Balochi singer pours outs his/her restless and deep sentiments, are genuine instruments such as Tanburak (the small guitar), Setar (three stringed guitar), Qalam (a flute divided into five or six sections), the pitcher, the oboe, ordinary and small kettledrum, the tambourine and roebuck or Hijdah (eighteen) Tar.

Another native musical instrument in Balochistan province is banjo on which many changes have been made and it has been converted into a native instrument in the Sind Province in Pakistan. Eighty percent of the population in Sind Province are composed of various Balochi tribesmen. The most famous banjo player in Sind was the late Lavarborji who had descended from Dashtiari Balochi sect in the Iranian Balochistan. The next native instrument in Balochistan is Dongi (whose Pakistani name in Sind Province is different). Dongi includes a pair of male and female flutes. The best Dongi players in Balochistan who had universal fame came from the Siri tribe and were called Mesri Khan Jamali and Khabir Khan Jamali.

Banjo and Dongi are so intermingled with other Balochi instruments that have become naturalized in Balochistan. The preservation of tribal traditions such as Sepak, Shabatagi, Liloo, Sote, Liko, Laloo, etc. which are accompanied by music, has helped this remote Iranian province to retain samples of genuine Balochi music. Moreover, one can find singers and musicians in Balochistan who are devoted to their traditional music. The singers and musicians who have inherited the art from their ancestors from generations to generations are called Pahlevans. "Pahlevan" is a combination of "Pahloo" and "Van". Pahloo is derived from Pahlavi language and means brave and powerful. "Van" means a singer. Meanwhile in the Balochi language "Vang" also means singing. Therefore, "Pahlevan" means one who shows bravery and chivalry.

Here we will briefly refer to several examples of genuine Balochi music which is now popular in Balochistan. Sepad which means praise are a series of melodies which are sung after the birth of a child. Such songs continue for 14 nights while the mother prepares herself to wash her body. Sepad is sung only by women and by groups and is aimed to help the mother to forget the pains that she has suffered during child delivery. In these songs they mostly praise God, the Prophet (peace be upon him) and the elders of the religion and wish health and happiness for the mother and the newborn. Vazbad also means laudation and are a group of songs which are sung by either a single lady or a group of ladies and responded by another group. Such melodies which continue for about 14 nights at the newborn's house, praise God and the Prophet for bestowing a child to the woman.

Shabtagi is another rite in Balochistan. When a baby is born the lady's relatives, neighbors and friends assemble in her house in the evenings and at times stay all the night and pray for the health of the mother and the baby. They congratulate the relatives for the newborn and sing poems in a soft tune accompanied by the oboe and tambourine. These poems and songs are known as Shabtagi which means to remain awake in the night. The majority of Shabtagi melodies are in praise of God, the Prophet, the Prophet's companions and elders of religion in which they congratulate the mother and the father and wish health and a brilliant future for the newborn.

During such rites they officially sing the Azan (Muslim call for prayer) into the baby's ear which means that the newborn is a Muslim. Shabtagi songs help the mother to forget her labor and refreshes her spirit and bestows strength to her body. Moreover, the Balochi tribesmen believe that evil souls and evil wishers await in ambuscade to attack and harm the mother and the newborn by talisman and by magic spells. For example they believe that Jatooq who is a devil and sorcerer will devour the child's heart and liver. Jatooq is believed to be an evil and cunning woman who longs for her newborn which she lost during delivery. She envies the others' children and harms such women. The Balochi women believe that Jatooq's evil spirit secretly devours the baby's heart and liver and for that reason they must not let the mother and the new born remain alone for a minimum of three days and nights. As a result they assemble beside the mother and the child and recite the Quran.

Shabtagi extend from 6 nights to 14 nights at times to even 40 nights according to the family's financial condition. Loola is another song which is sung during festive occasions such as wedding parties and has different meanings. But Laloo shesghani is specially dedicated to the sixth day of the baby's birth. In this song the singer appeals to Almighty God, the Prophet and His blessed family for a happy life for the new born. For example if the baby is a boy, they wish him to be brave, true to his promise, a good swordsman, truthful, kind, hospitable and pious, obedient to elders and other good qualities which is admired in the Balochi culture. But if the newborn is a daughter, they pray her to be chaste, faithful, a good housewife, truthful, hospitable, kind to her husband, brother and sisters and faithful to Balochi culture. The christening and circumcision is often performed on the sixth night of childbirth and during that night female guests are entertained by food, perfume, and oil.

Liloo or Looli is in fact lullaby which the mother sings to put the child to sleep. Zayirak is the most melancholy melody among the Balochis which complains of separation, from unkind darling or miseries of life. Zayirak or Zayirik is accompanied by doleful melodies and the music is played only by Qalam or flute. However, nowadays Zayirak is played with banjo as well. This is a long, monotonous and doleful music which is played with drum and the notes are repeated with slight difference. Zayirak is divided into various branches among which the most famous ones are Ashrafdor Zayirak, Janoozami Zayirak and Zamerani Zayirak. When you hear Zayirak it seems that you are sitting at a melancholy coast listening to the repeated sad notes of the flute with the Gheichak. This resembles the sea waves which start with violence at first but as they approach the coast the tempest subsides and at last the ripples find peace at the seashore.

The music starts with a shrill tune, rises to its peak, then gradually subsidies and grows silent. Then after a short pause, again the flutes wail shrilly, and the episode is repeated again and again. Zayirak is sung with or without musical instruments and is sung for the absence of close relatives, such as father, mother, brother, sister, daughter, son, wife, a mistress and even for absence from one's homeland. Zayirak is derived from Zahir which according to the Dehkhoda Encyclopedia means remembrance, sadness and a wish to meet the beloved one. Zahir also means melancholy and dejected. Formerly Zayirak was sung by women during their daily chores specially when they gathered near the mill to grind their wheat into flour. At those times the melody was sung alternately by two groups of women. Such a method of singing is no more observed these days. Nowadays Zayirak is only sung by men by flute, Gheichak and banjo.