ABSTRACT
This conclusion presents some closing thoughts of key concepts discussed in this book. This book explains about the first, second and third degree of motreb in the Qajar era. In the Qajar period, motreb were relegated, in turn, to the second plane, and suffered the hegemony of the musicians of the royal court, in relation to whom they were secondary artists in the musical hierarchy. In 1979, social structures shifted with the Islamic revolution, which caused the motreb and their music virtually to disappear, as "western" modes of festivity organization, as well as popular music, became omnipresent in Iranian society. The book encompasses all urban folk music, and also the light and more popular part of classical music. It includes both professional and non-professional performances and the most significant part of professional entertainment music was devoted to celebrations and festivities. The music of social entertainment in Iranian culture involves three main categories such as folk, classical and popular.
