Focusing on the cultural history of vocal music in Pahlavi Iran, this article examines the senses in modern Iranian history. As the article shows, the performance of Iranian vocal music became subject to a gendered male and female dichotomy. While this dichotomy did not exist in early Pahlavi Iran, in the early 1950s, a gendered consciousness and language emerged among male musicophilias, eventually separating genres of vocal performance across gender lines. Hence, vocal music known as āvāz became increasingly associated with male performers, while tarāneh and tasnif were increasingly associated with female performers. As the article attempts to show, this gender dichotomy should be contextualized in the broader tension between the sense of vision and sight and disciplined notions of aurality and the body. While the “modern woman's” body permeated the visual domain in the public sphere, the cultural ideals of disciplined aurality and body docility informed the male musicophilias countercultural claims in Pahlavi Iran. Eventually, the latter attempted to challenge the female agency in the public music sphere.
