Space Syntax is an influential theory which has been successfully applied to various disciplines such as archeaology and architecture to analyze spatial relationships. It has been defined as a method for representation and quantification of spatial patterns. Instrumental in this method is the definition of space as a two- dimensional convex structure. The method examines circulation in or through any space. The spaces that connect more spaces are thus defined as more integrated, while those with little circulation are considered to be segregated. Using the same method the central courtyard in a Persian house, for example, is highly integrated, while the talar and orosi rooms are segregated, although these are the most important summer and winter residential spaces, respectively. There are other spatial characteristics that are not considered in the application of the method: size, shape, function, atc. The paper tries to introduce and analyze the method and highlight its advantages and disadvantages.

Scholars have done various discussion on Syntax and its origin. What can be infered from their argument is that, Arabic grammatical rules have lost their influences. Therefore, the leading proponents of syntactic school have tried to avoid this problem by writing grammatical rules for Arabic. Such attempts have been conducted by schools of Kufa, Basrah and Baghdad. It goes without saying that each of these schools possess its own rules and regulations. To teach the Syntax remained from the past in accordance with the Basrah end Kufa school is considered to be neither appropriate nor right. In devising new Syntax to fulfil our needs, descriptive approach is viewed as the best Choice. In recent descriptive studies, Syntax: is devised based on both spoken and writen language. Such a descriptive appro<"lch includes both the over all shape and the change in the final vowels of Arabic words. Dialects are unacceptable issues because they are not based on descriptive Syntax and they are far from it.

Iranian culture and islamic Belives are the main source of iranian music. Therefor the cos of the evolution of iranian music should be found in it"s inwardness and the islamic theosophy is the main source of the Syntax of iranian traditional music. Islamic wisdom has two major effect on iranian music firstly prepare a productive language between educators and students. Secondly prepare a useful communication between Iranian music swells and their addressees. Thus the Islamic believes and Iranian tradition is the main outlines of the Syntax of pioneer iranian music. Iranian music has two famous branches which are been usually used by music masterfuls. ln spite of some deductive shortsighted approaches, both of them have Islamic resources However the main part of Iranian music evolution has been occured in Islamic period. We can address a considerable number of famous clergymans whom know music as well as theology. In order to clarify the new way of avant-gard music, Iranian tradition and Islamic beliefs should be accurately scrutinized. Path of progress and rehabilitation of Iranian music can be followed only through Islamic believes. Therefore, Islamic theosophy, Iranian culture and our inveterate traditional music are the primary and constant source of Iranian music inspirations and the outlines of the Syntax of avant-gard music which are able to clarify new horizons of Iranian avant-garde music.

Speech is the power or faculty that discriminates man from animals. To use this faculty correctly, man needs to establish rules. Arabs have been fond of speech power more than any other nation and have paid great tribute to the kings of rhetoric. For this reason, Arab kings sent their children to deserts so that, among the tribes, their language may remain pure and powerful. The Quar"an is the eternal evidence of Arabs^1 rhetoric and eloquence. Arabs seek the mystery of the eternity of their language in this book and for this reason they rightly show prejudice in keeping this holy book free from possible grammatical and syntactic errors. This article deals with the question of Syntax in the Qur"an.

In linguistics, there are four approaches to the study of language: comparative, historical, contrastive and descriptive. In traditional grammar, the dominant approach was prescriptive, but in modem linguistics, the dominant approach is descriptive. In this article, the writer introduces two important schools of Arabic Syntax, Basra school, which takes a prescriptive approach, and Kufa school, which takes a descriptive approach.

In this paper the syntactic properties of negation in English and Persian are compared and contrasted. It continues the debates concerning the availability of Universal Grammar (UG) to L1 and L2 acquirers. We argue that a VG-based analysis for the stages of NEG-placement is not only possible but in fact provides independent support for VG-based analyses. Evidence is provided that Persian negation is just checked in NegP and there is no need for finite and non-finite verbs to move to IP. To provide the evidence, the progressive construction 'dashtæn' "to have" with and without negation marker is studied. In English however finite verbs need to move to IP to get negated.

It will be going the path of respect to uphold the Prophet’s words over other Arab words in prose and poetry in syntactic quotations. After the eloquent language of Qur’an, no other Arab word found itself more saying in eloquence than that of the Prophet’s, nor had it the depth of effect and balance of meaning of His. But this had not been welcomed by antecedent grammarians to the extent that it was worthy of such welcome and gone ignored and seen itself on desuetude other than few hadith quoted. The present paper is a modest attempt to show grammarians’ manners in quoting hadiths, and to critique the rationales presented behind their reluctance to quote hadiths, and provide explanations more palatable from historical facts perspective.