Iranian mystical music from a carbon perspective

Whenever Iranian mysticism is discussed, music is seen as an additional topic or something. Whereas in Iranian mysticism, music is considered an important part of it. This type of music has its own meaning and definition, which Corban has tried to explain in the article The Meaning of Iranian Mystical Music. He first talks about the paradox between this type of music and the ruling of the jurists and, something that complements Iranian mysticism, and then, based on Roozbahan Baghli Shirazi, he reaches a mystical statement of the words of Amir al-Mu’minin Ali (AS), and then, with an explanation that he quotes from Rumi’s preface, he manages to explain it. After discussing the eternal covenant and covenant of the Almighty with man, and the transcendental nature of mysticism and Sufism in Iran, he discusses hearing and mysticism, and finally reaches the stage of perfection of Iranian mystical music, which is silence and hearing of the Almighty. At this point, Corban prefers to remain silent and expresses his intention to raise these issues of confrontation with the modern world. He raises all these issues from a kind of phenomenological method that he himself calls Kashf al-Mahjoob, and as a result, he considers Iranian mystical music not only as a main component of Iranian mysticism; but also embodies it as a language for expressing this type of mysticism.Using a descriptive-analytical method and through a collection of library studies, the question is answered: What is Iranian mystical music from Corbin's perspective?