HONAR-HA-YE-ZIBA
Year:2007 | Volume:- | Issue:31|Papers Count:14

Reza Khan's coup d'e¢tat in February 1921, was an end to the anarchy caused by the duality in the government body. Failure of the constitutional revolution led the Iranian Modernity movement to Pahlavi's centralized power in 1925. Inasmuch as this authoritarian modernity needed plan, regulations, financial sources and a powerful executive, the Pahlavi bureaucracy on one hand reinforced the municipality in 1922 as the only authority in charge of urban development. On the other hand the budget of urban plans was provided by law of tenement taxes legislated in 1930. The lack of experts was overcome via the establishment of an architectural school in 1929. Also Hundreds of students were sent to Europe for training. Regulations such as "The facade regulation" legislated in 1932 and "The street development law" in 1933 served as the legal basis for urban plans. Overall, the planed city as the symbol of monetization replaced the organic city which at that time represented a social lag. The new urbanism was theoretically supported by originality, ecologic approach, modernity and modernization. Each thought took advantage of a special architectural expression: Tehranism referring to the school of Tehran which had a more external approach in residential buildings. Although this style continued the mature form of vernacular architecture from Qajar dynasty; the hegemony of Tehran school inhibited any architectural accent to flourish. This actually put an end to local architecture in Iran introducing the modem style which took advantage of cubic and pure forms avoiding ornamentation. Ancient style influenced by - ' nationalistic attitudes which were intensified by archaeological research started from 1934 was another architectural approach at that time. Finally Europe's 19th century classicism tried to unify the new streets and squares by symmetry, modules, motifs and colonnades. This urbanism used a new language to communicate; therefore, the urban vocabulary redefined words such as street, square, school, trade center, hospital, bank, factory, national park and even urban equipment. In addition a new grammar rearranged these concepts. The first principle of this grammar is the cross roads which splits the old urban structure. The second is the 19th century pattern of Europe mostly implicated by architects graduated from Europe. Grid development is the third principle which was the natural result of developing the cross roads. Zoning as the last principle was influenced by the international style. Consequently the public as the reader of new urban texts formed a different mental study of the city demonstrating a severe change in to the image of the city in Pahlavi dynasty. This image in Yazd presents factories and the main prison as new landmarks while the religious elements had lost their past position as main landmarks. In the previous image the main element of Iranian city was the neighborhood.These districts were replaced with blocks surrounded by straight endless streets. Naturally paths became the significant element in the new city image. The reductive urban approach transformed the multifunctional nodes into traffic squares. Finally, the defensive wall and the ditch around it which had grave position in the previous image as the edge of the city were gradually destroyed.

Urban conservation, without diving into its deep historical and theoretical aspects, could be distinguished and categorized in three consecutive eras or versions. These three versions are identified and known as Reconstruction, Renewal and Regeneration. Each of these three has safeguarded and transmitted an amalgam of city's form and content, which could be considered as the "city's tale". It seems that the tale varies from time to time and give us a variety of perceptions upon the city. In fact, it's somehow the exigency of a city and its people who shape the tale and prepare some kind of container and faCt8defor the ever-changing content. Marching through eras can show different stages of evolution for a city. Although this evolution could be considered as a permanent change, but an accumulation of change and evolution brings the city into a metamorphosis point; a point at which one can ask himself whether it is the same city he knew by his previous civic experiences. Examining evolutions and changes that a city has experienced, demonstrates a series of urban metamorphoses and the continuous presence of urban conservation. Throughout this evolution, we may recognize a variety of events and approaches, which in fact is nothing but the "era tuned" versions of the "tale" and accommodated conservation. Conservation has been present throughout the time and space. Despite of all struggles and challenges, which have made a treasure of contrasting and sometimes divergent ideas in the field of Conservation, it has been nothing but a perpetual attempt to maintain an up-to-date city and to give it all the possible opportunities to be an image of contemporary, modem and new. By reviewing the history of urban metamorphosis, it may seem abruptly cut by the sections due to the transition between those turning points. This perspective induces a sense of rupture, stagnation or divergent versatility that could make some confusion regarding the philosophy of progress or active intervention. Once giving a clear vision about the conception of lime and by merging the both two circular and linear perceptions, deducing the spiral concept, another reality is revealed. Passing from an era to another does not vanish the impacts of former steps or lessons taught by the History. The accumulation of ideas, experiences, try-and-errors, victories and defeats, has made the conservation enriched and flourished. The mentioned versions of Conservation are all accomplished methods for making the city, contemporary! The toolbox of Conservation consists all of these versions, even nowadays applicable according to the context and era, lived by each city. As a matter of fact, city's "tale" is perennial, it changes colour and configuration, but it remains eternal. This notion of perenniality penetrates into the fundamentals of urban conservation as a whole. Here in this paper, certain notions and basic concepts are discussed in an oriented way to explain how these two apparently antonym approaches could make the same.

Using the shading mask of Olgyay, this article will introduce a method that will help architects to determine shade need periods according to climatic considerations in open areas. In this regard it shows how it is possible to design sunshade for hot periods and to evaluate its efficiency in a pattern year. Clear sky and high intensity of solar energy are among key specifications of hot climates. Shading of open areas and passages is a very effective way of cooling the environment and reducing the temperature in such conditions. For 2/3 to 3/4 of a year, shading is necessary in hot climates, which is the reason of the innovation of notable samples of vernacular umbrageous architecture.To continue this culture and to create new umbrageous architecture, these questions are propounded: 1. How is it possible to distinguish shade need periods during a year in a specific climate? 2. How is it possible to provide shade in hot periods without being deprived of pleasant sunshine in cold periods? This article discusses the importance of making appropriate shadows and explained the way of using shading mask method of Olgyay in six steps. Step 1 is for taking the climatic data and analysing it by using appropriate thermal comfort standards to draw the climatic needs calendar of the region. Penwarden standard is an appropriate standard proposed for this step. It considers human thermal comfort in open spaces by paying attention to climatic elements and human factors simultaneously. Step 2 is for determining the important climatic periods according to use open spaces for some activities. Drawling thermal comfort boundaries on "climatic needs calendar" show the needs for using open areas in different periods of a year. The important periods will be distinguished as: sunshine or sunshade need periods, inadequate sunshine or sunshade periods, very cold critical conditions in winter and very hot conditions in summer. Step 3 is for converting this information on the sun-path chart of the region. Sky dome concept is a simple graphical method that is used for this target. Step 4 is for overlapping the shadow angle protractor on sun-path chart to determine the shade need period and draw the shading mask pattern.Step 5 is for designing the sunshade pattern according to shading mask pattern. Sunshade pattern shows only the dimensions of the area that must be shaded by using opaque matters. It is not the main sunshade design. Step 6 is for designing different alternatives of sunshades according to several elements such as aesthetic, material, strength, construction, economy, maintenance and other climatic elements such as wind speed, precipitation, freezing, chill factor and so on. Analysing benefits and wick point of these sunshades, the optimum choice will be selected for constructing. At the end the advantages of Olgyay's shading mask method are discussed as the ability to control sunshine and sunshade in a period of a year. These advantages will be motioned as: a) the ability to design several alternative shades using the same shading mask and sunshade pattern, b) simplicity of this method because of its base on geometrical knowledge, c) the ability of generalization the results to climatic needs calendar and evaluate the sunshade efficiency according to other climatic phenomenon.

There have been various types of mosque in pos_Islam architecture of Iran. The most important initial drawing, the simplicity and popularity of which were highly concerned is nocturnal place in mosques (Shabestan) which is taken from the Mosque of Prophet Muhammad in Medina. Along the simplicity of this plan, there are some disadvantages such as uniform porches and no suitable emphasize on the Keble direction which has been a concern to the architects and each one has made some changes in it by taking into account the local architecture.One of the most important changes in Iran is the delayed arrival of the pre-Islamic domed four-arched structure to the mosques as the shrine hall; that, through a suitable combination with Iwan (porch), while lowering the number of central pillars, created solutions for Keble and shrine in the mosques of Islamic world. After changes in the general type of the four-porch??? mosques, which had been newly introduced in the religious schools, they began building mosques Even. today this is a symbol of the Iranian architecture of pattern-drawing of mosques in this region. Is the arrival of the domed four-arched and Iwan in the Iranian mosque a solution to confront the Arabic-porch plan? Has more emphasize been placed on the direction of Keble in the Iranian cases as well, or dose lack of attention to the shrine seeks the Iranian solution in the Iranian mosques? This paper introduces different point views and tries to answer this basic change in the structure of Iranian mosque as compared to other parts of the Islamic world.In Seldjokides time, the first step was carried out in order to change design of Abbasside mosques. Large dome four arched structure separated Mihrab Hall from other sections. The next step for strengthening design of Iranian mosques was carried out by adding an Iwan to this section and courtyard. For the architects in this region, emulation from non-Iranian solutions was considered as a weak point; so they tried to provide spaces, which could emphasize the Iranian character while preserving their Islamic aspects. Although the structure of the Nezam-ulMolk dome within the royal court, in line with the tradition of Islamic architecture, attempted to put greater emphasis on this significant element in large mosques, it was also able to create a new style in terms of dimensions, general shape and type of free-standing structure and has set an example of Mehrab hall for other mosques to emulate. Ever since, this dome has become a successful case which is able to provide creative ideas for mosque architecture, wile emphasizing a unique character for Iranian mosques. Iwan, as semi-open space, was able to integrate the courtyard with the domed space and to emphasize the entrance. Next, three other Iwans were added and the four-arched structural pattern, as a symbol of Iranian mosque, was presented. Here, the role of people in preservation of Iranian traditions as an architectural resistance toward domination of non- Iranian dynasties could be understood which has solidified the Iranian symbolic spaces. The use of elements such as domed four-arched structures and great Iwans have pointed to different stages of processes which has reshaped the mosque, of Abbassid period.

In this paper apart from the study for a effect of structure in architecture in the past and present day architecture of Iran and the world, role of structure in architecture, & architectural design in the view of Architects and other thinkers is studied, and - the evaluation of teaching of Statics in Universities of Iran and in some accredited universities in foreign countries, - present difficulties for effective teaching (learning) of this lesson in Iran was considered. With industrial revolution and science becoming specialized subject, a division (gap) between the architecture and the structure is created. With this neither the Architect gained the knowledge of structure, nor the engineer (structural designer) benefited with the knowledge of architecture. In this several factors are involved., but teaching of static with similar method that are used for Civil Engineering will be much effective In other words, the teaching of statics by using empirical formulas and the topics had only theoretical aspects. This was the effective factor that didn't give any deep interest of learning, rather loosening the interest and looked coldly upon the subject. There was no appropriate. Methods of teaching structure in Colleges of Architecture in Iran. In this respect, research work for improvement in teaching of statics, in some of the accredited world universities is being carried out. There, they prepare models of the structure to the scale and test models in statics lab. Use of software and other computerized program appropriate for the field of architecture. This could be helpful in creating deep interest in learning static to the students of architecture. Therefore this paper presents two views. First - all that is considered as designing Le. Architectural designing, structural designing, Installation (mech & elec) etc. should be responsibility of the Architect. Second-It should be brought in notice of the Education section of the Architecture course: that acquaintance of theories and procedures of teaching at applied stage be made so that students be able to utilized taught instructions. The theories and procedures should include the appropriate methods and tools, all this with direct participation of students. Thus, having clear understanding and concept of static. Therefore, this research paper recommends that the utilization of nature (plants and living creatures) for teaching of basic STRUCTURAL CONCEPTS is effective. In this research the nature (animals and living creatures) is used as the basis for the static course as a method of learning for the students of architecture in Mazandaran University, Iran. This method is based on Bloom Learning method and includes: Analyses of nature, modeling from nature, Modeling without nature & testing the models. The statistic result shows the Learning power of the students of architecture is increasing and this method is acceptable to students, teachers and professional architects. In This research is a used research method: Causal, Descriptive & Comparative methods and are used methods of information collection: Literature search, Observation, Interview, Questionnaire & Analytic.

The aim of this study is to develop a new methodology for design of industrial products. This method is taken from object oriented methodologies that are used in software design to help industrial designer to analyze and categorize their design information. Object oriented method is an inclusive method for the design analysis. In this method attempts are made to identify the object, precisely with all of its specifications. This analytical method is based on Abstraction, Encapsulation, Modularity and Hierarchy. Combination of object oriented analysis and object oriented design can result into object oriented process in software design. Similar to this, in industrial design this combination can result into design of products. In order to use object oriented methodologies, a special modeling language which is called UML (Unified Modeling Language) was used. This language and similar languages includes a group of symbols which present the concepts and the final design. UML is based on object oriented design and analysis. In other words, this language is based on an object and its details and modules. Therefore, in this method, objects are changed into modules that constantly are used on thousands designs. Furthermore, a combination of these modules creates new objects. These modules can be transferred to various concepts, there is no need for repeating the concepts by the designer. This method can also prevent redesigning of the similar modules to other products. In object oriented method, the object is composed of the particulars. Therefore, changes perform from details to whole. In this regard, using UML diagrams can help to develop industrial projects. In this study, a tool that is used in software design systems is employed for the design of industrial products. UML is a modeling language in both analysis and design phases. UML is a formal and widely used method mainly in software engineering and management applications. Using this new method has some advantages for design. It has the potential in system abstraction and modularization. Due to the modular ability of this method, it can increase the speed of the design process, maintaining the high quality and reducing the difficulties associated with product research and development (R&D). Nowadays, due to the increase of complicated projects and their information, making a common language between all the groups of people related to the project is very important. The design can act as a connection between various groups such as industrial designers, mechanical engineers, electronic engineers, etc. UML act as a connector for creating a common and standard language. It provides the situation for the all involved groups to understand the aim of the design. As UML graphs have the ability of observing the design from various points of view, can be used by different groups. As a standard language, UML can provide this circumstance by making connections between similar researches, creating some floating modules and planning a team work to perform the tasks.

The Persian skills and initiative in weaving Indus- try, has a deep antecedent and history. About 3000 to 3500 B.C, knitting a delicate cloth by a weaving wheel was customary. Some of the Lorestan bronze cups, which have a Susa style, indicate the fabrics that have an interesting pattern design in themselves. Some other references indicate that they also embroidered and filigreed the cloths. The oldest Persian cloth that was made from herbaceous material, has been discovered from the grave of a child in the "Shahr-e-Soukhte", which is about 4700 years old. Achaemenian also was famous for weaving woolen cloths and delicate fabrics. Achaemenian' s glazed tiles in Susa indicates some of the floral fabrics that their designs was certainly embroidered. The Sassanian (3-7th c. A.D) textile art - which is the last part of the eastern ancient fabric design - is important significant element of Persian art, because of visual aesthetic values, symbolic ornamental motives~ use of natural and organic colors and weaving technology.Metallurgy, sculpture, pottery, and other forms of decoration shared their designs with Sassanian textile art in this time. Silks, embroideries, tapestries, and rugs were woven with servile patience and masterly skill. The two dozen Sassanian textiles that escaped the teeth of time are the most highly valued fabrics in existence. Even in their own day Sassanian textiles were admired and imitated from Egypt to Far East. Presence of geometrical and floral fabrics and currency of textiles with magnificent animal design and human figures, prove the application of high technology and advanced weaving machines in Sassanid period. Geographical and transitional situation of Persia and the estimate of Persian textile design in the ancient world, causes that many of the neighboring civilizations, such as Byzantine, follows the similar conceptual and ornamental patterns that practiced in the Sassanid period. Since the 4th century, the Sassanid policy had been to export various products to Egypt rather than raw silk to the Mediterranean in general. So under Justinian in the sixth century, silk worms were smuggled in and used to begin a local royal silk industry. There was a small but wealthy market for such products and the emperors jealously guarded the technology. Naturally, the Sassanid silks that had been exported to Byzantine offered a model. In this paper we have tried to review the historical, political and artistic aspects related to Sassanid and Byzantine empires, by help of historical-comparative analyzes. The paper also deals with main concentration on ornamental motives, design contents and the main structure of their composition that applied in the fabrics of Sassanid and Byzantine period, with respect to the inter relation between their forms and concepts. Comparative analyzes between them shows the Sassanid textiles had a deep influence on Byzantine fabrics. In spite of the power and authority of Christianity as a formal religion in Byzantine, it is surprising that symbolic conceptual forms and religious patterns of Persia had been developed and used in Byzantine textile industry.

The joint of Iranian painting with mysticism and mystical literature is the reason of Iranian rich painting genesis releasing of Iranian painting utterance and rich figures on principal product of painting workshops that were in part of book illuminating workshops, became idiomatic since the painter artist established unsporting and immediate connection with mysticism and mystical literature .It is not exaggeration if we count Iranian paintings as successor son of Iranian mysticism. It is because of this auspicious association that, little by little borrowed elements from east and west in Iranian painting became annihilated or under the flag of an independent culture and essence melted and found an Iranian character. There fore inspiration of Iranian paintings pictorial signs and elements with no hesitation in the inspiration source which Iranian artist had made profit from is a vain act, personal imagination and temper doubt. Space of Iranian paintings in spite of all visual attractions is full of coded meanings. This category is causation of unfinished paradoxes in its abdomen that in the following caused the untrue and numerous interpretations. Therefore just ones can understand its noble actuality and real essence that are familiar with secret messages and coded signs identifying techniques. You will hear no secret from this wonder (no secret would be heard from this wonder). Unless you get acquainted Stranger's ear is not the place of Gabriel massage.By HafezOne cold give figure the Isfahan miniature school as the last school of Iranian gentle and traditional painting. One could. That could resist against counted external elements that was the result of dominant terms on the time and could protect the Iranian paintings unique and matchless nobility. Isfahan painting school is a humanistic school that the human form sovereignty undoubtedly is the result of special conditions of the time. Some critic's passive opinions and judgment attribute it to untruth full justifications such as materialistic and terrestrial lock, voluptuousness negative look of association with boys. Client isolation (singularity) and personality feeling satisfaction -(gratification )- particularly the ruler and therefore the overcoming of royal aspect and showing of psychological dimension of whom ordered their own face. Human figure centrality in Isfahan miniature school, have no link with western humanism and also is not purport of any incoming blames human centrality of Isfahan miniature school is visual manifestation of mystical humanism that is unique narrator of passing from the human love to godly love. Representing of human figure in Isfahan miniature is resulting of mysticism and human visual countenance in Iranian mysticism. In recent essay after reviewing human figure evolution process in Iranian paintings, extant paradoxes in process of human figure inspection as a superior element in Isfahan miniature school is challenged. Then with regard to noticed and principal reasons in its inspiration source that is Iranian -Islamic mysticism, had criticized some untrue understandings that expressed in this case And finally searched and obvious that important essential element which is the main reason of human figure existence in Isfahan miniature school.

According to philosophers, movement is the creation force behind two elements of time and place. The root and essence of the first glance at time and place in Islamic Iran arts as well as Ancient Iran has always been identical. Islamic mystics are of the opinion that the worlds of existence are sequentially divided into three main categories of rational, spiritual and sensible worlds. However, due to the fact that the spiritual world is placed between the two abstract (rational) and material (sensible) worlds, has both the material (visibility) and non- material characteristics (because of non- touch ability). From the viewpoint of being the cause of material world, the spiritual world has always been the focus of attention as far as Iranian artist is concerned. Hence the theme of painting is the theme of spiritual world. In depicting this spiritual theme, which is not, limited to material time and place causes the painter to be able to observe one place at a given time from various angles. Time in this theme is the main cause for depicting all times (even night sceneries) in a monotonous and harmonious lighting. All elements and things are also depicted from a prefect angle as an exemplary representation of own species and are separated from physical and environmental effects of time and place. Time and place are considered as two inseparable elements in realistic works of paintings. The fact that Iranian paintings are not confined to time and physical place has provided the painter artist with ample opportunities to enjoy more creative means of self-expression. Hard roles of the material world in different realistic works of paintings prevent artists to describe all the scene qualities in their own way. They are limited by material roles so they miss a lot of details but spiritual world and abstraction help Iranian painter to see the scene in different ways at the same time. Iranian painter firstly wants to point of the upper world by showing that abstract place and describing its spirit. In this way, Iranian painter tries describing spirit and real life, showing a real scene on the spot by changing the seeing ways at the same time and showing more details not by immitating its physical presence such as an unreal perspective in a photograph. In Iranian painting realization of object to materialistic and seeming object is'not enough for artistic work perfection and painter tries changing or leaving its presence. In Islamic though art is honour to material by explaining the material reality in spiritual world.

Classic Aristotlian drama based on essential elements in its connection with the spectators is practically a one way course of action that ultimately aims to entertain and influence viewers. New approaches of interdisciplinary studies on narratives have provided the grounds for the possibility of increasing the role of the audiences and their mutual participation in story making. The emergence of computers into dramatic domains has caused new aspects of narrative models. Dramatic logic of the narrative based on computer factors are pointed out and classified. This classification provides the possibility of creating and generating various narrative models for user-audiences who, as well, are viewers, the intervening agents of narrative softwares. Generally, interactive dramas have been limited in a the sense that the audiece is although considered a vibrant player, he/she can only make decision that have already been decided and set forth in the program. Here, we are propsing a new strategy of taking new directions. The interpretive process for writer/player/domain could pave the way for creativity. As a new kind of virtual dramatic relationship, interactive drama, is the result of an interaction between computer and dramatic disciplines. This interaction itself is the consequence of a modern alliance between traditional audiences and dramatists. In this new process, the audiences are able to aesthetically manipulate the development of a narrative formation and change the actions taken by characters. They can actively alter and modify the directions a story may take. The user of narrative sofwares reestablishes his/her own position during the process as a new key factor. Hence, a new domain of narrative story telling has been establishes in which the dramatists and audiences work within the boundaries of imagination and the probabilities available within the computer algorithms. One of the main characteristics of this interactive drama is that it is an open-ended narrative which can be influenced by the player/audience. The effects of this type of drama may therefore go beyond catharsis through identification with the main character(s). Very close to the idea of the "willing suspension of disbelief' theory, the (active) audience might immerse himself/herself in the work to have a unique and independent experience. Thus becoming a powerful agent who can perform independent actions based on the character's intentions and could in effect transform himself/herself. If we consider the uses of computer drama in conjunction with the possibilities of multimedia in a way that the users, while in a text, would be able to move their characters in desirable environments and, based on their characteristics, can change locations at will and thus redefine their relationships with other users on-line, we can appreciate the strength of the dramatic value of the interactive virtual multimedia potentials. Analyzing the dramatic models by computer logics reveals undiscovered possibilities which could help recon figurate fictional dramatic events. Interactive Drama indicates a dynamic relationship for the virtual aesthetics and also for the interdisciplinary study of arts and technology. These new grounds may provide fresh material for the already established dramatic media and hence their use in the development of material for theatre and film.

Samuel Beckett is one of the most famous playwrights of the 20th century. He had a very active and changing life, and spent most of his life in trip and migration. He could make relations with all types of people, therefore was able to leave some humane and profound works. Although Beckett had left his own country, he always loved it, and felt committed towards his people. As a matter of fact, the main audiences of his plays are the Irish people. The events of his plays mostly take place in Dublin, and his personages mostly have Irish characteristics. This great thinker mainly concerns the poor and middle class people, especially those on the verge of death. Interesting is that he has seemingly been under constant threat to poverty and death. The personages of his plays provide a limited and lucked-up situation, all waiting for the basics of life. This is not out of mischief, but is out of his personal experience and his revolt against the nature. He wants to ask why human being should get so weak, and due to disability get trapped in poverty, and finally finish his life in pain and sorrow. He did not back any political wing, and did not enter the intellectual challenges. He always remained independent and pure. He never spoke about his works, and refused to answer the journalists and researchers. That is why that everyone interprets his works according to his own taste. The result is that those who do not know him, believe him to be hopeless and pessimist, and regard his works as ambiguous.His play Waiting for Godot has been registered among the classics of the 20th century. Godot is a name which has nothing to do with God, and has not been coined by Beckett. It is a family name used by so many French people, and can be found in French literature too (the absent personage in Balzac's work Le Faiseurs is also named as Godeou). The audiences of this play are Beckett's Irish country fellow men, and as opposed to the interpretations provided by the critics of the cold war era, this play is neither absurd, nor hopeless. The universality of this play originates from the fact that in the world of injustice, wars, sufferings, lies, accusations, colonization and oppressions, all the humans is looking for a savior, and find a meaning for life in their waiting, and are hopeful. In comparison with the characters of Greek classical drama, and the classic theatre of the 17th century Europe, these personages are simple, weak, suffering, and at the end of life. They are not alike the old characters who were quite noble and strong, and all the rest of the people loved to live like them. According to many of the directors of Beckett's works, "he (Beckett) wants to show that it is possible to live with hopes, with little hopes, all those small pieces which enable all the people to continue their livings".

The relationship between Islam and music is one of the most important applied issues. In this article, different points of Islamic views are reviewed and discussed. First, different definitions of art in general are presented. Second, a brief history of music from ancient times to Islamic era is reviewed and also the history of music in Iran and Arab countries is discussed.Basically, the music is an art which is raised from the deepest layer of human being's soul and likeother types of art can have either positive or negative effect on man's soul. The scientific music is introduced to Iranians by ancient Greeks and Aristotle believed that the music was a branch of mathematics. Islamic philosophers then accepted this definition. However, contrary to the mathematics, because the rules of music is not rigid and can be changed by human talent, the music is an art rather than a science. This kind of art is a mixture of scientific rules and passion. From another view, the music is a composition of melodies which consists of notes and harmonized rhythms. In holy Quran, the term of music is not directly mentioned. However, some Traditions are available. The terminologists have described the music as a good exciting joyful song while the religious scientists believed that the music is a song suitable only for the sinful gatherings and parties. In this article, different types of Iranian music are also reviewed and discussed. The Iranian music can be categorized into two main kinds of the traditional music and composed music. The traditional music itself can be categorized into 3 different types of original music, local or regional music and religious music. The composed music consists of orchestral music, military march, film music and a low class type of music which is called Lalezari music. In overall, in this article the following conclusions are made. The religion scientists have been divided into 3 groups with 3 different points of view towards the music. First group believes that the music is an absolute religiously prohibited. The second group believes that the musicis not a religiously prohibited as far as it is not joined with the sin and finally, the last group divides the music in to two types of religiously prohibited and lawful. Based on these opinions, we concluded that all music involving each of the the aseing elements listed below are religiously prohibited, otherwise, there is problem of it (a) The sexual stimulating music (b) The music for any sinful gathering (c)The music which leads to moral defectives (d)The music which makes the person to forget the God. The above mentioned categories can be distinguished by public opinion and some uncertainties and doubtfulness are usually accepted.