The Sound of Khonaya in Gonbad-e Mina (A Session with Iranian Music and Architecture) Journal Article

Machine summary:

Anyway, I have perceived in an emotional way that between you two artistic personalities of Iran, there are obvious and hidden similarities that have been deeply influential in the spatial organization of nava (melody) throughout the history of the transformations of Iranian architecture and music. The remaining and existing names and signs of the melodies and Gushehs of Iranian music, their content and organizational forms, and the method of their compilation and narration from one generation to another, all indicate that this music, within the context of a specific society, despite failures and ruptures, has taken its place in the collective memory of society because of the relationship it has had with its audience, and has flourished in that atmosphere. The Iranian architect was the heir to the existing states in the organization of space and knew its traditional patterns; at the same time, they were both an architect and a calculator, a material expert, and a craftsman, and were so integrated with their society that there was no need for separate studies of required functions to create diagrams for them, then apply dimensions to them, convert them into plans, and finally proceed to their spatial embodiment. If such a Dastgah of architecture existed, it could be transmitted and taught; something that would be the most suitable basis and reference for extracting the regulations of cities and buildings; and since it is not determined once and for all, every architect can, by relying on the patterns and spatial states emerged from the heart of various eras, design a new Radif, but...