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This article aims to analyse the decisive factors, which from early sixties formed a context for the promotion of a complex of values - “spirituality”, “tradition”, “authenticity” and “Iranism” (as a national attribute) -, which gave the radif not only a symbolic status and meaning in the collective consciousness of the society, and especially among the members of the musical field, but also made it to be a “sacred” value. The mechanisms that enabled these values to play such a role in the rise of radif to this symbolic status had (and still have, because they reproduce themselves) their roots both in the “habitus” as well as the discourses and musical practices (works and position-takings) of the musical field's dominant “agents”. For this purpose, those institutional, social mediations and also debates will be examined, which on the one hand, through the process of "reforms and modernizations" from above, namely through the policies of imperial regime from the early sixties and on the other hand, through the discourse of “return to oneself” and confronting the west, advocated by the regime oponnents, led to the rise of traditional music.