Singing, or more precisely, authentic Iranian avaz, despite its many similarities to general vocal performance, possesses subtle yet significant differences. In other words, beyond its professional principles, Iranian avaz—owing to its deep connection with classical Persian literature—is an ethical art, akin to chivalric sports in contrast to competitive sports. This is because avaz is not merely a musical skill; it also requires attaining intellectual and ethical refinement. An avazkhwan (master of avaz) enjoys intellectual and artistic independence, whereas a khanandeh (singer) excels in executing performances that cater to diverse tastes—an adept contractor who materializes the ideas of marketplace patrons and follows prevailing trends.
Of course, there are thoughtful and discerning tasnif (ballad) singers and even taraneh (lyric song) performers who belong to this category; likewise, some among them have performed valuable and remarkable avaz. However, they are not devoted practitioners of this path. This study, which seeks to delineate this distinction, ultimately identifies only Taj Isfahani among the avazkhwans of the past century as having accumulated the highest artistic and ethical merits in his artistic life compared to his peers.