Review of Transformation of Iranian Sistan Gheychak and Baluchistan Gheyachak from a Developmental and Modal (Maqam) Perspective

In recent years, many efforts have been made to compare types of Gheychak in the province of Sistan and Baluchistan. This present article aims to compare the apparent and modal forms of this musical instrument in two local regions. This study seeks to answer the following questions: 1. What are the musical developmental and modal principles of the instrument of Gheychak in both Sistan and Baluchistan? 2. What is the playing of these two instruments characterized by?  There are two types of Gheychak in the province of Sistan and Baluchistan. This study is descriptive-analytical and gathers data via library sources. Studies have suggested that the Sistan and Baluchistan Gheychaks have transformed over time with the transfer of this musical instrument to key Iranian music centers, decorative work by the local people on the instrument, including mirror work, elimination, and changes made to the size and its development. Today, we are witnessing the presence of Gheychak in traditional and hybrid music groups; meanwhile, with disregard for local originality, the Sistan’s Gheychaks are, to some extent, similar to the Baluchi Gheychak in appearance and component characteristics; however, its developmental components and the way it is played are simpler and easier than the Baluchistan’s Gheychak. With Robab (also a musical instrument) gradually being forgotten, Gheychak is the only stringed instrument of the Sistan region and the most important one used to enrich the songs of this region. Notably, this instrument is taller and slimmer than its Baluchi counterpart.