محمدرضا آزاده فر

This Article is a study of the musical tools of Ta’ziyeh and how it employs the Dastgāh and Āvāz of the Iranian traditional music, which is considered an Iranian- Shi’ite artform. What opens Ta’ziyeh for more examination today in Iran and even worldwide is its intrinsic dependence to musical elements as well as utilization of the two entangled components of poetry and drama. Moreover, Ta’ziyeh’s involvement with mythology and with matters of faith has turned it into an interdisciplinary artform and a drama with a musical-ceremonial theme. The different analyses done in this article show that this musical phenomenon is a structuralist formation where the choice of Dastgāhs, Āvāzs, and melodic circles, and in all sections i.e., Pishkhāni (overture), Noheh (elegy), monologues, dialogues, and instrumental sections, is contingent upon the specific contents and needs of each Ta’ziyeh. For this reason, to better understand how Ta’ziyeh works and how the musical elements of Ta’ziyeh are picked it is necessary to study Ta’ziyeh from a musical point of view. Therefore, the current study uses the existing Ta’ziyeh texts and performances to take an analytical and interpretational approach to understanding the ways the choice of music and the contents of the drama are connected, and meanwhile introduces the properties and the variables of Ta’ziyeh. The results of this study include important points, such as: Choosing a main Dastgāh or Āvāz as the performer of the musical atmosphere, specific to each Ta’ziyeh; Commencement and conclusion of the Ta’ziyeh is presented in a specific Dastgāh or Āvāz, suitable to each Ta’ziyeh and the landscape of its story; The melodic design, choice of Dastgāh, Āvāz, and Goosheh (piece of Radif), in different kinds of Ta’ziyeh’s monologues such as Monājāt (fervent prayer, often chanted), Khatāb and Farmān (addressing and commanding), speaking to self (Monologue), Rajaz-Khāni (recital of epic verses in defiance of enemy), and characters’ speech, are all done according to the capacities of each part, dramatic events, and contents of the drama; The casual use of excess syllables, like the extended, redundant “O” vowels, extra “keh”s (meaning which, or that), etc in order to achieve harmony between the melody and the poems; all of the above are counted towards the results of this study.

The central enquiry of the present study is how modern and traditional discourses of revolution influenced in shaping, living and dying Chavosh in the context of Iranian traditional music? In this study, we try to adopt an analytical method with a descriptive approach to examine the process of formation and collision of the way a musical discourse may superseded by a new one based on social and political changes within the society. We are particularly seeking to find how new musical discourses appeared over political activates led to 1979 Islamic revolution superseded previous life Iranian traditional music. Chavosh was one of the Iranian band shaped in this stream and tried to combine Iranian traditional music with revolutionary lyrical themes. The musical dimension of Chavosh's works includes components that are related to the “modern discourse” on the one hand and to the “traditional discourse” on the other, and their expression can be clearly traced in Chavosh's works. The intellectual and ideological field of Chavosh music, which is mainly reflected in the song contents, is influenced by the revolutionary tendencies and political atmosphere of the years leading to the 1979 revolution. This style gradually turned to build a new music genre among Iranian traditional music ensembles which continued its life even after Chavosh ended its life. Our findings show that Chavosh's discourse is a synthesis of modernism and traditionalism discourses in between the middle of the Nasseri period in second half of the 19th century and Islamic revolution in 1979.

The purpose of this study is to examine changes in musical performances in streets of Tehran focusing on styles and genres over the past fifteen years. In this study, we investigated genres in the streets, and analyzed changes and main causes of such changes. This article is part of a major project conducted by the authors in Tehran from 2014-2016 . We drew a map of the large city of Tehran in four main parts according to people's economic standings. The areas included west, north, east and the center. We did not include the south because there are little or no street music activities in that area. Although we benefited from the existing literatures, the observation and interviews with musicians were the main methods of gathering data in this study. In this qualitative research, we utilized field study and documentary study methods that are selected to be in line with the key question of the study. To collect data, we used techniques of non-cooperative observation and ethnographical interviews. In examinations of observations and interviews we could drew a picture of changes in street music of Tehran in period of last 15 years. The outcome revealed several interesting findings. Our studies showed that one of the most considerable changes in performance genres. It means that street music genres shifted from folk music toward popular music over the last fifteen years is. In other words, our records show that traditional and folk music and Gypsy music were the most performed music in streets of Tehran prior to 2001. Since that time, we face decline of folk and traditional performances every year. The tempo of this change raises every year as we approach toward 2016. Another change took place on settled and moving performers in street of Tehran. Today performers usually settle in particular places and do not move from one place to another. Traditional and folk musicians and Gypsies, however, do not stay in one place and usually play on the move. Staying in one place has some advantages and disadvantages for musicians and their audiences. The main advantage is that performing and walking at the same time exhaust performers a lot and on working day for moving performers is a very devastating day. The other advantage of settling in one place is that the supporters and fans have chance of listening to their favourite musicians at regular bases. The main disadvantage of settling street performances is losing the chance of being heard by further people in various places. The other disadvantage is that in cases that street guards in particular places can easily arrest musicians because of engaging the path and pedestrian roads; while moving musician can scape in such situations. Another significant change that has occurred in the recent years is that people's viewpoint has changed toward street music and street performers. In other words, street musicians today enjoy a higher social places compare to 15 years ago. Increasing the number women musicians in streets of Tehran is another significant change in the life of street music in Tehran today.

In addition to dramatic functions, music is capable of providing the necessity of coherence among different formal and structural elements in video games and movies. The present study seeks to answer this question that what are the main roles of music in dramatic formation and visual entity in both video game and film. For this purpose, a comparative study of the construction of soundtracks from a structural and functional perspective in computer games and movies was conducted. Furthermore, the way various components of the musical elements relate to each other in constitution of establishing musical soundtrack was also examined. The research method in this study was descriptive-analytical and library resources were also adopted. As such, this study investigated existing literature and analyzed typical music composed for movies and games. A comparative analysis of the role of music in film and video game was conducted in order to find their similarities and differences in use and function. To pursue this aim, we analytically look at structural elements in both music compositions for film and video games. Based on our findings, shared functions of music in both films and video games can be categorized in terms of: shaping emotional responses, controlling rhythm of scenes, filling the ambiance, establishing, continuity or stopping an atmosphere, credibility of the movie or game, immersion and illusion and other features. Our findings also revealed that there exist several common ground in music composition for films and video games, the most important of which are the unity of materials, induction of concepts, emphasis, persisting on symbol and signs, and driving multiple variations and layers at the same time. This study presents further implications and suggestions for game music scoring.

Many scholars have come to the conclusion that the passage from rural life and housing in many cities have eroded the traditions of traditional social units or have led to oblivion.In the course of such cultural changes, local music is always one of the most enduring species. Perhaps one of these disadvantages and a wider look at the changes is the beginning of sound recording technology from the late nineteenth century. Evidence of this claim should be found on the subject when people were forced to listen to music in a specific place at a certain time.Otherwise, anyone who was interested in this art should have learned the fan of music to enjoy music. In this article tries to address the various aspects of these issues in light of the importance of the subject and focusing on this principle. For this purpose, the above discussion will be examined from two perspectives:In the first part, using Appadurai's theory, the leading thinker in the field of globalization, the issue of changes in the cultural and artistic system with a focus on folk music is examined and in this The issue of change in five perspectives includes:Ethnic, technical, economic, financial and media perspectives outlook are reviewed based on Appadura's comments; and in the second part, a linguistic sample from the Alamut area from the perspective of a musical folk is analyzed,which describes the factors Involved in its various layers, the details and details of this folklore type are put into a critical mass

The recent human is on the cutting edge of Information and Communication Technologies, making lots of valuable data for their descendants. But the main issue is converting and maintaining the traditional and cultural data via stories, dances and activities from the ancestors to the descendants; negligence results in loss of cultural and location-based information.

 In this project, Perception Neuron device (a wearable system of nonoptoelectronics MoCap group) was utilized for capturing the data of the musical movements of the body. The captured data refers Azerbaijan, known as Azeri Dance in the world. Whole project contained three phases of possibility of identification, capturing and maintenance of musical movements on cultural-climatic backgrounds, endeavor at utilizing these musical movements of the body in creation of melodic and rhythmic patterns and the game side of project containing levels, game-based learning, player progress and skill comparison among players. The device was attached to the female performer with the body height of 165-170cm according to software’s default body size with fewer flaws in data. The captured data is musical movements of the famous folk tune called Terekeme (pronounces as /Tærækæmæ/).

The final product of the Musical Movements and Azeri dance, has been build and presented with in a 3D room in Unity game engine. The player could move around and get closer to the performers in order to watch the dance and musical movements from different angles along with hearing the real music (perfomer danced with) syncing with the movements.

This interdisciplinary research provided an interface for Azeri dance and rhythmic melodies using digital technology. The research can be extended to any culture from any part of the earth as well as for entertainment, medical, rehabilitation and educational purposes.

The methods and tools used for learning are rapidly changing. One of the most interesting fields in educational tools are computer games. This paper proposes “Saray”, a solfege training video Game, through which the players take solfege rehearsals in form of challenges while tracing a folklore story.

The game receives the player's voice through the microphone. Based on the algorithm and the written code, the player's voice is analyzed and its fundamental frequency is extracted. The obtained frequency is entered into comparative calculations with pre-written patterns. If the user's voice frequency is within the defined range, the user would be successful and will earn score.

Solfege exercises took the form of intra-game challenges from basic to advance levels. Behind the scenes, all input sounds are processed. The frequency of the input sounds is analyzed to implement this process. The result of the analysis is compared to pre-designed didactic patterns that were confirmed by the music master. The result of this comparison reveals the correct or incorrect user feedback in the game.

Exercising in the form of games motivates players to spend more time training and has high impact because of the attractiveness of video games.

Following the Timurid decline, Abd al-Aziz b. Abd al-Qāder of Marāgheh left his birthplace, Herat, for Bursa and joined the court of the Ottoman Sultān Mohammad b. Morād, presenting him with his essay, Naqāvat al-advār on music. Even though the general topics that Abd al-Aziz has stated in this essay are taken from his father’s tracts, there are useful explanatory notes here and there in his own essays. Additionally, in this book he has made mention of some of his innovations. For instance, he speaks of two “sho’beh” (literally, branch) that he has invented calling them “shāhi” and “safā”. We have found a manuscript of his in which he has presented, in musical notation, a song in the safā branch, in the dawr-e mokhammas (literally, fivefold round) using letters and numbers.
In this article, assumptions have been suggested with a view to finding the rhythm of this song and the way syllables are connected to the dawr-e iqā’i (literally, rhythmic cycle)

Tourists are somehow interested in traveling to witness events in mysterious lands. Event tourism has a central part in financial development of several cultures. Urban and folk musical events take place in various regions of Iran. However, the audiences of those events are mostly local people. In order to provide possibility of turning the local events to tourist attractions, several steps need to be taken. Every event tourism consists of three main essentials: time, place and audience. Designing and managing every package for event tourism is very much related to those three features. To have a successful event management we need first to look at the destination and its event from the point of view of visitors. It looks simple from first glance but the management of the details entailed in such events make every project a daunting task until the point that it is realized into action. That is why huge festivals need to be practiced on small scales before they take place on a larger scope. Activities that tourists expect to attend in music events are hugely varied. Some of the common activities music events include: attending concerts and musical performances, visiting with musicians, singers and bands, attending traditional workshops and ateliers of luthiers while they are making musical instruments, visiting the birth place of great musicians, visiting the graveyard of great musicians, visiting music museums, visiting houses and living places of great musicians, attending workshops and lectures of musicians, and participating in performing music and dance sessions with local musicians. Music events must meet several standards in order to succeed and have the chance of repeating such ideas in other occasions. Some of the most important essentials in such standards are: 1. Cooperation among various parts of city managements such as transports, hospitals and emergency centers, police
2. Managing dates in accordance to climate and national holidays
3. Providing audio visual packages of information and advertising the events in details
4. Designing additional attractions like bazaars and other side attractions for tourists
5. Considering a variety of preferences for tourists in regards to designing the events and programs in both the nature of performances and duration of events
6. Considering human rights and tourists’ rights
7. Considering the rights of artists and performers
8. Considering rights of residents and locals
9. Respecting the environment and nature of the destination
10. Respecting the families and children
11. Insurance for safety of visitors and locals
12. Accessing the information in a proper time and condition
13. Providing the facilities of feedbacks and comments.
Since the national state TV does not support music performances and showing musical instruments are prohibited in television programs, music tourism may open a new opportunity for Iranian people to attend musical events. Moreover, Iranians usually choose to travel around using their own cars. This habit provides a possibility of easily accessing any corner of the country and discovering musical events in any part of the country. Since the 1979 Islamic revolution, many of the country’s youths have had little of watching live musical events. Event tourism may provide a chance for relinking the younger generation to their musical and artistic aspects of their culture.

This article is a review of book An Introduction Atonal Music Analysis by Amin Honarmand published by University of Tehran in 2014. This book consists of four main chapters. It begins by general issues on analysis of atonal music in chapters one to three and focuses on structure of dodecaphonic music in last chapter. Even though the roots of atonal music is not in Iran, one may doubt why the author has chosen to write a book in this issue rather than translating readily available books written by Western scholars to Persian. It seems that main reason for choosing to write a new text rather than translating is that of needs of Persian student for a simplified source in this issue. Review of this book showed that Honarmand has been somehow successful in this task and the output is clear enough for students who need basic knowledge of music analysis of atonal music.Review of this book also revealed that one may not find all aspects of atonal music in this book and still needs further resources to make a complete analysis of atonal music, particularly in aspects of harmony and orchestration. However, the book perfectly disuses on pitch classes and pitch collectionissues and to a good extend dodecaphonic music analysis. Before reading this book, the reader needs a good knowledge of tonal music and related issues of that kind of music in order to make a better sense of absence of tonality in configuration of atonal music.

Studies on Iranian music are particularly conducted to show its melodic aspects and are highly occupied by the discussions of modal systems of dastgāh-ha and the arrangements and functions of notes and their alteration within a tetrachord and pentachord. In general¡ we can consider three main factors in melodic contours including directions¡ intervals and time values. However¡ accustomed listeners of Iranian music pay little or no attention to microtones and their complicated arrangements. In fact¡ the combination of those three elements plus the presentation of such features arouse their emotion. In order to study and categorize the melodic shapes of gūsheh-ha of the radīf of Iranian traditional music¡ a system is designed. In this system¡ all the main gusheh-ha of seven dstgaāh-ha and five āvāz-ha of the radīf (here the version of Mīrazā Abdullāh is used as the main reference) are studied and the melodic shapes of them are categorized. For each gūsheh two types of melodic movements are recognized¡ structural and momentary movements. The researcher has used his own experience of familiarity with radīf¡ as a musician¡ to distinguish the structural elements from momentary musical incidents. Living in a society is the best way to learn and experience everyday life to make sense of the music and the culture of that society. Nonetheless¡ in order to categorize the musical elements¡ a systematic approach¡ which leads to a sort of comparative examination of data¡ is working accurately. The approach presented in this study helps to examine the qualitative phenomena of melodic movement in various gūsheh-ha of dastgāh-ha and their subdivisions to acquire a general picture of one of the elements of form in Iranian traditional music. Based on the findings¡ the central features in melodic shape of gūsheh-ha of the radīf are summarized. In 106 gūsheh-ha of various dastgāh-ha and their subdivisions āvāz ha which have been studied in this project¡ pendulum movement of melody and moving level with the very limited tonal material have the highest rank in various melodic shapes and movements. As well as pendulum and level melodic contours as the main melodic movements¡ there is another movement which is sequential descending of the melody. The findings of this study also revealed that some types of melodic shapes¡ such as “inverted arc¡” “sequential ascending¡” and “terrace descending” appears very rarely in melodic movements of Iranian melodies¡ and ascending melodic movements are not popular in melodic structure of dastgāh-ha. Moreover¡ melodies in traditional music of Iran are usually tended to move in a level with a very limited tonal material or to have a wave shape outline.

Providing bases for developing the people’s musical taste can increase the music consumption in every society. While in the United States and some major developed countries there are companies and organizations such as SoundScan that constantly monitor the consumption of music and selling musical albums and concerts to provide the exact statistics in periodic manners such as weekly, monthly and annually, there are no statistics for music consumption in Iran in any form. The only statistics one can find is the number of licenses issued by Ministry of Culture and Islamic Guidance for publishing albums and giving formal concerts. This article provided the statistics for Albums and concerts formally took licenses in Iran in the period of 2009-2011 and compares the decline and increase of various musical genres in Iran. Analyzing the data provided by this study sheds light on this fact that the production of musical albums in Iran is declining steadily, while the number of seats sold for music concerts are increasing. Same change has been taking place in other countries since 2005. The data, on the other hand, shows that while various genres of popular music are increasing in Iran, in recent years, the production of Iranian traditional music is decreasing quite sharply. This fact rings the alarm for lovers of Persian culture all around the world. Governmental statistics show that Iran currently has one of the youngest populations in the world (more than 17 million of Iranian population are between 20 to 29). By 2016 the population of young people will be drop to less than 15.5 million. So, it is quite normal for now to see increase in the number of albums and performances on various genres in popular music. The problem however, lies on presently declining the production of Iranian traditional music. By the time that current Iranian youngsters will become old and nostalgic about their musical heritage, the contemporary Iranian musicians would be retired and there would be a great shortage of master performers who traditionally can produce Iranian music. The findings of this study put this fact forward that governmental and non-governmental organizations should act now to preserve Iranian traditional music for future generations. The other problem Iranian traditional music is facing is its absence in the local and national TV stations. During the last decade, Iranian musical tradition is gradually taking out from daily schedule of TV programs so that youngster mostly cannot remember watching any Iranian musical instruments on TV. Since Iran has not been signed the copyright agreement, Iranian artists are feeling very vulnerable over the future of their professional careers. In the light of this problem the only artists who can save themselves are pup singers who can guarantee selling the seats of their live concerts in big music halls. Traditional performers who perform in small halls and have little on their hands to set large concert tours can only relay on selling their physical albums. The medium which already is getting forgotten among other means of musical recordings.

Most Islamic philosophers consider music as one the four elements of mathematics following Aristotle’s quadrivium: arithmetic، geometry، music، and astronomy. However، the philosophers usually avoid engaging the issues related to what music really does when perceived by man and how it can improve the life of man on earth. At the same time، Sufists and mystics manly focus on the later issue. Based on theosophical view، music has something in connecting the God and his creator، while in philosophical view it is mainly a subject which can be studied like other mathematical issues. To investigate the place of philosophical and theosophical way of looking at music among the contemporary Iranian youngsters a filed study conducted for this project. A survey including 5 questions which addressed the main issues in traditional philosophical and theosophical views toward music provided and some 400 music students from three rejoins of Iran including Tehran، Isfahan and Gilan participated in this study. The average age of subjects were 21 and were nearly half girls and half boys. Result of this study reviled that some 72% of subjects believe that music is relatively comparable to the order of cosmos. The result also showed that some 15% of the subjects think that such comparisons are nonsense، which is a relatively considerable percentage among Iranian musicians. Although، I could still find supporters for idea of cosmos-music relation in this study، when I came to investigate if youngsters believe in mystical idea that human is such an instrument in the hand of God، I found 31% believed that such idea is acceptable if one is in right mood of his connection with God. Some 31% disagreed with this idea. This study showed that there is still a strong believe that music is a media for communication between the man and his creator. Only 16% believe that music is a result of physical vibration and is incapable of delivering any message from God. A huge percentage of participants (62%) believed that music has a higher status than visual arts in theosophical activities (the idea came from Ibn Arabi’s theosophical view). Relating different traditional tunes to the certain time and places (Oqat-e Taghanni) nearly some 60% in one way or another believed that such an idea could take place even though some updates have to be included on ancient treatises. The examination of way of thinking of young Iranian musicians on mystical and philosophical ideas regarding music showed that they have different believes on different issues and there is no way of generalizing the fact that if they believe on old philosophical and theosophical facts as a general rule. For instance، while majority of them do not believe that they “act as an instrument in the hand of God”، a considerable percentage of them believe “God can communicate with human through music.” The study also revealed that there is a diverse ideology on every single philosophical or theosophical issue among the youngsters. In other words، the society is very colourful in ideas and believes.

The term Rock refers to a particular category of pop music. Since the late 1960's, rock music has raised important social, cultural and artistic discussions. Rock music influenced several generations through its rather short life. Several music genres emerged from this music while it carried on its own life up until now. Huge number of audiences of rock music turned this music as one of the significant popular music of 20th century. Massive attraction of people from nearly all cultural background around the world put this music in the centre of attention of several scholars in various disciplines from musicologists to sociologists. Rock can be defined by three dimensions. Sociologically, it is a commercially-produced popular music aimed at an exclusionary youth audience of a type characterized by the late-capitalist societies. Musically, it tends to be highly amplified, with a strong beat and rhythmic patterns, and to draw heavily on proto-folk musical sources from Southern USA. Ideologically, it is associated with an aesthetic program of ‘authenticity’, developing elements from discourses around folk-revival and art music (Middleton 2001: XXI). In Iran, in spite of having enormous audiences of this music, there are very little studies on rock music due to various cultural, political and other issues. This paper is an effort to analysis audience's attitude and valuation, mostly Iranian and Turkish listeners, toward rock music. Since there is currently no formal event of rock music in Iran we paid attention to one of the neighboring countries where usually is a destination of Iranian rock lovers. To visit Turkey, Iranians need no visa and therefore has become the first destination of part of Iranians to enjoy rock music. For this reason, we focused to the three-day Istanbul Sonisphere Festival in June 2010. The needed data has been collected from 300 people who participated in the mentioned Festival. The first part of the questionnaire was devoted to personal and general questions in which data analysis reveals: the background and familiarity with rock music, the age of listeners when first were influenced by this music, the ability to play musical instruments, the average amount of time spent on reading books, magazines and internet articles on rock, and finally the level of tolerance for other musical genres. In the second part of the questionnaire the attitude of listener toward the importance of three issues of music, lyric and album’s cover design were asked. Total data analysis manifested: 1) "Music" as the most important element among the three issues, 2) "Thrash Metal" as the most likeable genre among the thirteen important musical genres and 3) "Freedom" as the most attractive aspect in the 22 issues related to rock music. The findings also revealed other issues toward the rock music such as the level of audience's ability to communicate with "music", "genrelogy", and "semantic appropriation". Moreover, studying the audiences of rock music here showed how dynamically listeners get involve with rock’s lyrical, pictorial and musical structures.

Analyzing the conventional music of different cultures using their own generated tools of music theory is a preferred approach to illustrate the fundamental structure of music by insiders. Facts made available through the mentioned approach explains the construction of music and the musical matters in every culture which are not known through the conventional analytical systems, developed and spread by western music theory. Such efforts have been done in examining the rhythmic principles of Iranian music in some previous studies of authors. What occurs more in the current study is using the music theory generated within the Iranian culture to examine the western viewpoint of music performers living in such cultures to see how breathing in a different culture can influence the fundamental musical perspective and the music perception, even if one plays a music coming from thousands of miles outside that specific culture. In perusing this project a subject of 70 performers participated. Among them 35 performers or the players of various western musical instruments wore living in Iran (mostly natives) and the 35 persons were among players of Iranian traditional instruments, and all of the them have participated voluntarily. The average professional background of the performer was over 7 years. Three kinds of pieces played for both groups. The first one was purely a piece of western music recorded and produced in West, entitled “Night is my sister” by Edna St. Vincent Millay (Soprano by Wendy Lashbrook with 2’ 25” duration. The second piece was a Russian one by Rimsky-Korsakov called “The Rose and the Nightingale” with 2’ 32” duration. The third one was a piece of Purely Iranian traditional music by Aref-e-Ghazvini, recorded in Iran entitled Āmān, with association of one of the masters of lyric / vocal Iranian traditional music, Mohammad Reza Shajarian, and its duration was 4’ 26”. A questioner which was designed based on the fundamentals of Iranian music theory handed to subjects to fill after listening to each piece. Some of the questions were merely designed to examine the musical taste as well as the habit of subjects. There were questions among them for testing if they think the pieces contain enough repetitions, ornamentations, rhythmic complexities, distinguishable melodies, the compass, etc.; while the other ones examinedthe musical ability and understanding of the subjects, such as asking about the strategy of composer to extend the melodic range, boundaries of phrases, causes of rhythmic complexities, the nature of ornamentations, lyrical-musical relationship and so forth. Results showed that the subjects of both groups shared views in many significance issues in the two specific lines of investigations: musical tastes and the musical judgments. The players of western music participated in this project have mostly been educated in conservatories, in which the only kind of music that was taught has been the Western one, and The methodology and principles of teaching were same as the methods taught in West. Therefore, it can be concluded that the cultural inhabitancy influences on musical outlook of the person, more than the musical schools do. In the other words, the common view points between the performers of Iranian instruments and those of the Western, mostly based on the musical habits coming from the principles imposed mostly by the culture, rather than anything else.

Providing information from real situation of society plays the central role in educational and research based systems. Educational systems and research programs in the modern world are updated through using such information. Based on the criteria aimed in every system, the information may gather in national or international scales. After gathering the necessary information, they will be processed and converted to educational packages and key research questions. Information gathering and processing will be further discussed in this article through comparison of American and Chinese system with a case study performed by the author in music departments of UK Universities. Educational packages provided by this system supply functional educations, as questions provided for researches will result in practical outputs. This also results in job satisfaction and consequently developing the social health.

Qualitative researches and applied Criticism have several benefits on practical areas of artistic creativity. In addition, qualitative researches and applied critics improve the theoretical basis of aesthetics and the philosophy of arts. The current research benefits from a multidisciplinary approach on its basic issues. On the one hand, the enquiries consider the principles of musical elements in composition in which several factors including richness of melody, repetition, phrasing and musical sentences, melodic contour, melodic compass, rhythmic structure, orchestration, and the lyrical structure discussed. On the other hand, some psychological issues of music perception and cognition form a case study in which two groups of subjects are examined against an Iranian piece of music. The study exhibits the theoretical issues on composition when applied in reality to listeners from different musical background. Iranian music, even though enjoys a long history, it lacks methodological studies particularly in recent times. The main concern of conservatories and music faculties has been training music performance and singing. In the case study provided in this article 10 musicians playing Iranian instruments and 10 musicians playing Western instruments. The result showed that the musical background and the familiarity of listeners play crucial rule in music perception in some musical elements while having little or no impact on perceiving some other elements. For instance, Iranian performers have a higher expectancy for melodic richness compare with the Western music performers. In spite of that the comprehending musical phrases were more or less similar in both performers groups. Structural analysis of music most often have some limitations, on top of those is framing the outcome by the world view and the perception of the analyser him or herself. In current study, this limitation resolved by analysing the piece from the point of view of several listeners from different musical background and different genders. In addition, using a multidisciplinary approach brings the issue closer to the way human looks at the world through various angles.