Abstract
Evidences found from Archaeological explorations, rock reliefs and rock inscriptions, express immemorial connections between music art and Iranian societies and cultures in the historical age. The music of Mythic era (Pishdadians and Kayanids) and Historical era (Medians, Achaemenids, Parthians and Sassanians) is the most general division of music history of pre Islam. The flourish of Elamid music, before the Achaemids, can be noted as well. This research is a descriptive – analysis type, conducted to survey the position of music art in the societies and cultures of Iran at the Historical age. The research findings are gathered by documentary and field studies and analyzed in qualitative manner. The results of this research state that the upper and lower classes of the society had an important role in formation, transition and evolution of this art at the aforementioned time. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. in orisons, sacrifice, wedding and mourning ceremonies, indicating the association of this art with social life of people and closed connection between music and cultural, religious, social, economical and political characteristics of societies in ancient Iran. 
Keywords: Music, Historical Age, Dominant Class, Iranian Societies and Cultures.

Introduction
Music, art phenomena of human society from ancient times had an enormous impact on human life and the instruments used in each of the shapes and forms found. Some researchers, regardless of the place of music in ancient societies, conflicting views about the history and musical instruments proposed. Melody of emotions and human-induced internal interactions and represents sadness and joy, excitement and peace of mind of human beings. Clearly, music is a twin phenomenon and the essence of every nation in the world and part of the national identity and the culture of each society. Is that every nation and culture with its own music and is presented well and every nation has a special music from the distant past, a feature that the nation remained culturally distinct from the rest of the United Nations. Evidences found from Archaeological explorations, rock reliefs and rock inscriptions, express immemorial connections between music art and Iranian societies and cultures in the historical age. The music of Historical era (Elamites, Medians, Achaemenids, Parthians and Sassanians) is the most general division of music history of pre Islam. The flourish of Elamid music, before the Achaemids, can be noted as well. 

Discussion
This research is a descriptive – analysis type, conducted to survey the position of music art in the societies and cultures of Iran at the Historical age. The research findings are gathered by documentary and field studies and analyzed in qualitative manner.
Elamite period, the religious aspect is more art (probably due to lack of awareness of the use of this type of art, not a fact issue) of music and musicians in different events such as prayer to God (s) and sacrifice is used, although in that evening treated to music for celebrations. Choghamish seals in pre-historic and close to the Elamite era boom in the art show. Another important point in this era, there are three types of instruments (wind, percussion and string) in relief Kul-farah, Nineveh and Choghamish is obvious. The Medes also continued the tradition of singing the prayer ceremony. The art of this period are still among the lower class of society was not room for growth. Apparently the enthronement ceremony of the kings of the Medes, and continued playing music with ancient traditional shows. Another important point is that in this era, more music and religious aspects of the court official. In the Achaemenid era, a variety of martial music, festive and popular religious and because they Achaemenid Empire, many ethnic groups and was brought under the umbrella of its sovereignty, it is natural that people and communities benefit from these experiences. For example, the relative effects of Elamite and Achaemenid Persians in Mesopotamia the art of music is evident. There are a variety of instruments such as bass drum, horn, trumpet, harp, and trumpet and so does the variety of music in the evening. Although most economic activity in the state and was Clergymen and music is also closely associated with the court and Clergymen, but the bards and minstrels in ceremonies such as weddings and parties, it is reported that the ceremony might have the class and the ruling of is. Women who are part of every society, at court, continuing a long tradition, at least since Elam shows. Of military music show which direction the signal should not ignore the start and end of the war was used. In the Seleucid era by combining the theory of joint Iranian Persian music and Greek - Greek arose that its effects can be seen in the Western and Arabic music communities. The Parthian era, social security and qualitative progress in the industry, the development of the art of music. At this time a singer by the name of the party “gossan” was formed and it was probably the kind of song street market quotes were chest to chest. The importance of music in the Sassanid era, forced the king to appoint a minister for relations such art. Rank them in court Bahram Gur was promoted to second grade classes of the community court. Due to the rising value of the musicians in the court, there are special procedures for the ceremony music. In Sassanid period like the past, different types of music can be seen. Including a festive and happy, when hunting was hunting that deception, as well as the religious ceremony of singing used to comply with previous periods. In the course of the past continued to use some of the instruments. Also at this time the instruments were invented, how notation arose and skilled musicians and great musicians like Barbad, Bamshad, rebellious, Nakisa and others emerged and certain sounds like Ravshn or “way” was coined during this era. Poetry and music together in this land, and poet and musician is often a people. The music of this era is also quite popular among ordinary people and continued to Islamic periods.

Conclusions
The results of this research state that the music, as a general, was a special art for dominant ruler in the society which professional artists used to gather in their courts. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. in orisons, sacrifice, wedding and mourning ceremonies, indicating the association of this art with social life of people and closed connection between music and cultural, religious, social, economical and political characteristics of societies in ancient Iran.

Abstract
Perhaps painted rocks are the oldest surviving artifacts of prehistoric humans. Man has painted before the letters would create.  This art has a very ancient history in Iran and especially in the west of the country (Lorestan). This article studies the motifs of newly discovered petroglyph of Bauki village, Azna county in Lorestan. So far, no measures have been taken to record this site. Therefore, the record and study of petroglyph Bauki has the great importance in completing the archeological map of the country and the petroglyph studies. In particular, these motifs are variety and have narrative themes which is different from the style of human or animal motifs of other Iranian petroglyphs. The main study questions are: What motifs has designed on Bauki petroglyph and what style and method have used in designs of motifs? What areas are these motifs comparable to? What was the aim of creating the designs? What historical period do the Bauki petroglyphs belong to? The research method of this article has been did both field and desk study that documentary method were applied on comparative of motifs, anthropology and chronology of the newly discovered area. The research results show this The number of Bauki motifs is 74 which is on interconnected rocks and includes the motifs of human, animal, geometric, plant, and instrumental. According to the studies done, it can be said that in quantity and quality, the motifs of this area are similar and comparable to the petroglyph motifs of different regions of Iran, such as petroglyph of Timura (Khomein), Sungun (Arasbaran), Zarrineh (Qorveh) and abroad with Qobustan (Azerbaijan) and Gagama (Armenia). According to the obtained information from the motifs and the pottery evidence from the area and its surroundings, the surveys of the settlements around the site, comparison of motifs with other dated sites in Iran, pattern style and other historical data, subject to caution, is dated to Iron Age motifs.
Keywords: Petroglyph, Motif, Iron Age, Bauki.

Introduction
Petroglyph is one of the oldest living art traditions in the world, which has lasted for thousands of years. It seems bedrock have been the first surviving surface that man has chosen to record his artworks (Qasimi, 1399: 25). The subjects of petroglyphs are influenced by the geographical, cultural, and environmental conditions of each region. Until 1967 rock carvings were considered insignificant not only in Azna, but in all of Iran, and archaeologists made only minor and transient references to them in reports, but so far many studies have been done and there are many reports on the petroglyph motifs in different parts of Iran. The cultural and historical infrastructure of Lorestan province is so pristine and rich that in any field, especially point of view archaeology, it allows researchers to survey and to study and obtain valuable results. In addition to other archaeological data (pottery, buildings, etc.), other signs, such as the petroglyph motifs left on the rocks are specially worth considering from the point of view of archeology and the cultural-artistic interaction of the ancient tribes living in these areas with the surrounding areas, which points to the necessity and importance of the archaeological position of petroglyph in this part of Iran. The present research has been done both method: a desk study and field. The main objectives of the research include: introduction and study of Bauki petroglyph motifs, classification of motifs based on the type and style of petroglyphs, comparative study and similarity of motifs with other parts of Iran and abroad, the proposed chronology is based on the evidence of the relative chronology of the existing motifs.  In this regard, the authors of this study try to answer the following questions: What motifs has designed on Bauki petroglyph and what style and method have used in designs of motifs? What areas are these motifs comparable to? What was the aim of creating the designs? What historical period do the Bauki petroglyphs belong to?

Discussion
Each of the Bauki petroglyph motifs has a meaning and most importantly, and most importantly, the existence of ancient habitats and hills related to different periods and around the petroglyph are the important and determinative factors to justify the historical and cultural position of these motifs and the time of their creation. Therefore, for this basis, we can say that:
1- About the semiotics and meaning of the selected motifs were pictography and ideography and a limited number of psychography have high concept and were directly related to ethnic-religious faith, beliefs, and environmental conditions which are rooted in the myths and beliefs of the people about animals.
2- The motif of a goat is a symbol of seeking rain and abundance and has long been hidden and preserved among the motifs like a spell. For this reason, the motif of the goat in the rocks was abundant and varied
3- Motifs found in the area include horses, leopards, dogs and deer. The variety of motifs is directly related to animal species in the region. 
4- Some of the animal motifs were native to the area, but today there are no motifs such as leopards in the area. Since the engraved artists of these motifs could not engrave their motifs or paintings except by observing reality. So there is no doubt that in the past, these animals lived in this area.
5- There is a relationship between the method of engraving and the position of the motifs and the variety of motifs in the petroglyph of the study area. In terms of workmanship, they are of the petroglyph type and have used smoother rock surfaces to create motifs, the material of which is composed of hard rocks. 
6- Regarding the style and manner of presenting the motifs from the point of view of artistic representation (aesthetics), it is simple and abstract and only 4 realistic (animal) cases have been mentioned.

Conclusion
The Bauki petroglyphs are very simple and a limited number of realistic motifs. This area contains 74 motifs: animal, human, plant, symbolic and instrumental motifs, most of which are related to animals and humans. The most common method of creating Bauki petroglyphs is engraving and the creating style of the studied motifs has been mostly in an abstract style. All animal motifs are engraved in profile. Ritual dances performed while collecting agricultural products as well as asking for rain. Also, the exaggerated deer antlers are symbolically a symbol of herding and agriculture. Goats are still very important in the lives of people in the region today.
The chronological basis of Bauki motifs in terms of morphology with other Iranian petroglyphs and other motifs has been database tools, method to dig stone, engraving tools for these types of motifs. Therefore, these motifs are based on animal motifs, tools found and the smashing type of impact on the rocks, with caution and condition, it has no history beyond the Iron Age and belongs to the second millennium BC. In terms of quantity and quality, the studied motifs, based on carried out surveys can be examined and analyzed with other motifs found in other parts of Iran such as petroglyph of Timura (Khomein), Sungun (Arasbaran), Zarrineh (Qorveh) and abroad with Qobustan (Azerbaijan) and Gagama (Armenia).