Music, Ideology, and Youth: A Case Study of the Song “Salām Farmāndeh” and the Evolution of <i>Sorud</i> s in Contemporary Iran

Abstract This article examines “Salām Farmāndeh” as a case study of sorud s (state-sponsored songs produced to advance ideological narratives and maintain cultural hegemony). The article argues that “Salām Farmāndeh” represents a significant shift in the Islamic Republic’s cultural strategy: blending religious themes, nationalist sentiment, and popular music elements to mobilize younger generations, particularly Generations A and Z. Through qualitative analysis of the song’s musical structure, lyrical content, and state-led promotional campaigns, the article demonstrates how “Salām Farmāndeh” operates as an ideological state apparatus (ISA)—a tool for reinforcing loyalty to the principles of velāyat-e faqīh (guardianship of the Islamic jurist) and the Islamic Republic’s ideological foundations. Guided by Gramsci’s theory of cultural hegemony and Althusser’s concept of ISAs, this study reveals how contemporary sorud s such as “Salām Farmāndeh” reflect the regime’s adaptation of propaganda techniques to secure consent, not merely through coercion, but via emotional, cultural, and generational appeal. The findings contribute to broader discussions on the intersection of music, power, and ideological reproduction in modern Iran.