Itnumūzīkuluzhī: Rūykard'hā-yi Muṭāli'ātī: Persiska (Farsi) 1401

McAllister says: "Music is essentially a question of human values, not notes" and Gurali Kenneth considers ethnomusicology to be a field that develops the study of "music as sound" into the study of "man making music". Gilbert Chase believes that the history of music is a conversation with the dead, but ethnomusicology is a conversation with the living. The current book defines music as follows: "Music is the regulated occurrence of sounds in the context of time based on ethnic aesthetic norms in a certain historical period"; Maybe the aesthetic norms of the neighboring tribes will be different from the aesthetic norms of my people tomorrow. What is always in a human song or song is more than an organized set of sounds, and this "more" is very surprising. The complexity of man's beliefs and his surprising relationships with himself and others are so mysterious that they can be revealed only in the context of a phenomenon like the wonder of music. We are looking for clues to the mystery of man, and perhaps nothing can give us these clues like music. In this difficult path, however, we have one main gift to be proud of; We are human ourselves, and this greatly contributes to our revelations. We experience human wonders such as passion, ecstasy, ecstasy, seduction, fear, desire for immortality, and above all love, which is the secret of many songs. Every time we "anthropomusicologists" think about our field, we are filled with joy like a child who has discovered the greatest truth of existence, and it doesn't matter how many times we have been excited like this before.