MUSIC in the Shāh Abbas' 's epoch like the other areas of ART was under the influence of the politics and the political lines of power institution. Examining the available sources revealed Shāh Abbas’s I consideration and interest to different branches of ART like MUSIC. The MUSICal performers, singers and MUSICians got an elevated position in the Safavid court due to Shāh Abbas’s attention and favor and they were engaged in displaying their ARTs. Different usage of MUSIC in various ceremonies such as the celebrations and rites gives not only notice of boom and propagation of MUSIC in Shāh Abbas’s era, but also expresses his consideration and propensity to the MUSIC and MUSICians. The present study investigated the available resources to examine the position of the MUSIC and the MUSICians in the Shāh Abbas' 's court.

The ART of Islamic Banking and Finance narrates the author’ s (Yahia Abdul-Rahman) achievement in constituting an interest-free bank in the U. S. A. As a matter of fact, he explores banking and finance laws and regularities in the U. S as well as the Islamic banking system in the world. The remarkable difference between these two kinds of banking systems is that the former is based on the monetary market and the latter on the real economy. In the Islamic banking system, the rent expense of a commodity to be financed is measured based on rules known as “ commodity indexation” and “ marking to market” . Moreover, in such a system, the interest rate of the ordinary banking system is substituted with the rent expense of a commodity. Thus, rent expenses are not fixed like interest rates. The prominent characteristic of an Islamic banking system is not only its interest-free feature but also its civility and social responsibility. The main pitfalls of the book include a lack of comprehensive discussion and a lack of reporting the Islamic banking systems of other Muslim countries. Besides, no thorough analysis of banking system experiences has been done and has not paid attention to the critique of the Iranian banking system.

Roman Ingarden (1893-1970) is considered as the founder of ontology of ART. Having been influenced by Husserl phenomenological doctrines, Ingarden argues that work of ART and aesthetic object are ontologically two different entities. The work of ART is ontically similar to other real objects while the aesthetic object has an intentional nature which is constituted by intentional acts in the consciousness of the audience. Classical MUSIC ontology is twofold: on the one hand, the MUSICal work is identical with the score and, on the other, it finds its concretization during the performance. The ontology of literary work of ART is layered and manifests plurality of its structure. According to Ingarden, every work of ART has spaces of indeterminacy which are fulfilled by the audiences through their aesthetic experiences. The audience completes these spaces through the concretization. Thus, the perception of the work of ART necessitates the active pARTicipation of the audience in an intersubjective manner.

The relationship between architecture and MUSIC has been discussed many times. Rafsanjan is a city with a historical antiquity, which unfortunately has suffered from a lack of culture in the field of MUSIC. This research tries to present the design of a MUSIC conference center in Rafsanjan by using the aesthetic theories of MUSIC and architecture. The main subject of the research study is: how to use the aesthetic theories of MUSIC and ART in Islamic civilization and architecture in the field of design? The research uses the descriptive-analytical method to investigate this issue, . iIn the end, it is concluded that by considering architectural factors such as creating the right rhythm in the form, creating harmony in the interior spaces, climatic conditions, suitable micro-spaces, and proper connection of spacesareas, we can analyze the aesthetic theories of MUSIC and architecture in the field of. Benefited design. The results of this research haveThis research has been used in designing a MUSIC conference center in Rafsanjan, using aesthetic theories of MUSIC and ART in Islamic civilization and architecture.

In this ARTicle, the author is about to present a summary of the life and works of Sheikh Bahaei and to evaluate the fabulous poem and Bahaei (i.e. valuable) words of him in the scale of word's MUSIC and ART of versification of a jurisprudent poet who obtained the position and title of Sheikh-al-Eslam (i.e. Elder of Islam) in the Court of Abbas Safavy, the King, and in the realm of terminology and combination of them with the MUSIC frets and in the Mirror of Fantasy and creation of colorful concepts by him in prosody swing.

Evidences found from Archaeological explorations, rock reliefs and rock inscriptions, express immemorial connections between MUSIC ART and Iranian societies and cultures in the historical age. The MUSIC of Mythic era (Pishdadians and Kayanids) and Historical era (Medians, Achaemenids, PARThians and Sassanians) is the most general division of MUSIC history of pre Islam. The flourish of Elamid MUSIC, before the Achaemids, can be noted as well. This research is a descriptive – analysis type, conducted to survey the position of MUSIC ART in the societies and cultures of Iran at the Historical age. The research findings are gathered by documentary and field studies and analyzed in qualitative manner. The results of this research state that the upper and lower classes of the society had an important role in formation, transition and evolution of this ART at the aforementioned time. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. in orisons, sacrifice, wedding and mourning ceremonies, indicating the association of this ART with social life of people and closed connection between MUSIC and cultural, religious, social, economical and political characteristics of societies in ancient Iran.

MUSIC in Iran has a long history. In the early Islamic period, MUSIC was denounced. In the Umayyad period, MUSIC still faced opposition from some jurisprudents and a group of Muslims. But in the next century, due to positive attitude of governments as well as scientific attitudes of many scholars and scientists of that era, ARTs received public attention.  The design of women was carved on clay during the Seljuk and Ilkhanid for many reasons. These designs can be a valuable resource to check the state of MUSIC and social status of women. This ARTicle, studying pottery designs in the Medieval Islamic eralocated in the ARTistic treasures and based on ancient texts, aims to examine the social status of women and their role in the evolution of MUSIC ART during that era. The current research is fundamental in terms of purpose and historical-analytical in terms of method. Data collection was performed using historical-library resources. Furthermore, pottery samples of museums during different periods, especially in medieval Islam with respect to central role of woman, have been analyzed. The results show that many MUSICians of the period, especially female MUSICians, had an appropriate social status. Moreover, ceramic designs of this period show that women played instruments such as strings and percussion more.

The metaverse refers to a vision of a virtual and digital world parallel to the physical and real world, where each user is an owner and interacts with others through their avatar. MUSIC is one of the activities possible in such a space. The segment of the metaverse dedicated to MUSICal activities is currently in its early stages. The aim of this study was to evaluate and rank the factors influencing the implementation of the metaverse in MUSIC ART. This research is applied in purpose and falls under descriptive-survey research, based on determining the relationship between variables. The statistical population of this study consists of instrumentalists in Tehran Province. Using random and stratified sampling, 37 individuals were selected as the accessible sample. The data collection tool was a researcher-made questionnaire assessing six factors. Given the nature of the research questions, various statistical tests were employed. After collecting the questionnaires, the data were coded and entered into SPSS software. Descriptive statistics (mean and standard deviation) and inferential statistics (Friedman and BARTlett tests) were used for data analysis. Based on the results, it can be concluded that there is a significant difference in the ranking of factors influencing the implementation of the metaverse in the MUSIC industry.Research Objectives:Evaluating and ranking the factors influencing the implementation of the metaverse in MUSIC ART.Examining the role of the metaverse and virtual worlds in MUSIC ART.Research Questions:What is the evaluation and ranking of factors influencing the implementation of the metaverse in MUSIC ART?What impact does the metaverse and virtual worlds have on MUSIC ART and MUSICians?

Introduction: Academic motivation can be perceived as a factor in deciding to continue academic education. One of the new models in this area is Jones’s model of academic motivation (MUSIC). This study aimed to test the seven-factor structure of this motivation model in medical sciences students.Methods: This descriptive study was conducted on 378 students (197 females and 181 males) of Urmia University of Medical Sciences who were selected through cluster sampling method. Data were collected using Jones and Wilkins’s 26-item students’ motivation questionnaire. Amos-16 software was used for the correlation matrix analysis and confirmatory factor analysis.Results: A positive significant correlation existed among the components of the model. Goodness of fit indices showed that the seven-factor model provides a good fit of students’ academic motivation. Conclusion: The seven-factor structure of academic motivation (MUSIC) model can be highly useful in developing and promoting students’ academic motivation and pARTicipation.

MUSIC iconography is a useful source for uncovering and investigating important MUSICal-historical knowledge. Mainly derived from paintings and iconographical sources, it can often provide insights which cannot be found in written sources. Studying Western paintings in terms of MUSIC iconography is common practice, albeit with an awareness of the issues the field faces. However, the study of Persian paintings and pictorial representations of MUSIC faces greater problems, due to the lack of realism in the conceptualization of Eastern ART. The motivation behind this manuscript was provided by the field’ s common interpretation and explanation deficiencies, as well as the lack of methodology for Iranian researchers. This ARTicle may be useful for Persian MUSIC iconography researchers, and will help them to better explain the field. As one aim of this essay is to help MUSICology and ethnoMUSICology researchers, an effort has been made to explain key points of MUSICal interpretation pertinent to Persian paintings. This study examines relevant iconography, MUSIC iconography, literature reviews of MUSIC iconography, the role of the ART history in MUSIC iconography, the awareness of ARTistic styles, the reliability of images, and the representation of common MUSICal instruments in each era. It also introduces international MUSIC iconography research centers, databases and conferences, and at the end, proposes practical steps for studying a picture containing MUSICal elements in Iranian ART. One key point in surveying MUSIC iconography is that the primary purpose of many of these paintings was not to provide MUSICal information, yet MUSIC researchers can still interpret them for MUSICal knowledge. Thus, comprehending the ARTistic styles in this field, and the contemporary era of the ARTwork, remain two of the most important interpretive points to be taken into account. The results of the paper indicate that, although there is no realistic point of view in Persian paintings, MUSICal instruments (especially in the Timurid and the latter Safavid period) are illustrated realistically; Persian paintings regarding MUSICal instruments are therefore generally reliable. In some pictures, there are left-handed players; due to the rules of visual composition, however, nothing can be definitively concluded regarding their handedness. Based on the concept of “ Transformation” as proposed in Erwin Panofsky’ s iconological methodology, it can be understood that – in spite of an unchanging text in various historical editions of the Shahnameh – the MUSICal instruments in its illustrations are inspired by the contemporary era. Therefore, for instance, the Safavid and Qajar Shahnameh manuscripts depict MUSICal instruments from their own respective periods. MUSICal treatises, historical books, travel accounts and other written documents should be considered for comparative study and enhanced interpretation, as well as for the analysis of pictures relating to MUSIC. With reference to various key points in MUSIC iconography, 18 steps are proposed that may provide practical methodological guidance for researchers in this field. An effort has been made to choose the most impressive pictures as case studies. This ARTicle is an applied research project, and has been carried out using descriptive, analytical, historical and comparative research methods.