In a calm environment, in a family of academics, fans of culture, literature and science, her father is a tenured Professor of philosophy and her mother is involved in youth education; and from this unique environment for the growth and prosperity of their talented child, Soheila Golestani. An example of passion and enduring love for family, culture, Iranian literature, art, and music, and on the side, a Ph.D. in Medical and Laboratory Sciences. Soheila had the opportunity to meet with and socialize with her father's friends, Dr. Sasan Sepanta, Jalil Shahnaz, Professor H. Kassai, and other opinion leaders in science and Iranian art and culture.

Professor Sasan Sepanta, which retrieved old exquisite musical pieces by phonograph for the first time in Iran, gifted these pieces to Soheila among other presents and made young Soheila passionate for traditional Persian music and reading literature. Poetry and literature have been lifelong friends of Soheila Golestani. She considers poetry as a gift which rises in serene moments and takes its nature from human’s emotional and moral passion.

Dr. Golestani adores her artistic activity and scientific activity equally and believes interested and talented women in Iran could have the same opportunity and success in music as men if society let them. Beside to her study, Dr Golestani learned to play piano, sight reading and became skilled at vocal lines by her mentor “Hengameh Akhavan” one of the last surviving of Adib Khansari style. This intimacy and moral conduct between mentor and apprentice promotes a brand new scale for musical activity of Persian female artists. Dr Golestani believes that moral character of every artwork has a close connection and interaction with artistic value.

She has more than 70 songs and 120 minutes of recorded vocal parts in different Persian music devises. Professor Shafiee Kadkani, a national treasure in Persian poetry, culture and music, expressed his interests in Dr Golestani’s voice and dedicate his poem book called “Hezareh Dovom Ahooye Koohi” to her with this note on the first page “… To Dr Soheila Golestani, May she sing each of these poems with her tender voice…”. Dr Golestani believes that art and music requires knowledge and technical proficiency at the same time. In her point of view, words and language are not just sound or symbol on a piece of paper but, represents spiritual, mental and emotional aspects of humans which includes the most meaningful and deepest moral and emotional aspects and musical phoneme transmits these concepts in the most suitable way possible.

Some of Dr. Golestani's available works include Yeganeh, Raaz e Man, Asheghaneha, Makon Faramoosham, Javdan Kherad, Atash Eshgh, Be Yade Madar, Sharab Arghavani, Soudaye Ou, Zamaneh, Ey Bahare Man, Daryaye Gham, Kolbe ye Man, and more.

In recent years, her works have been produced in collaboration with: Collection "Raaz e Man" ... Composer: Dr. Jahan Shah Bromand; Collection "Atash Eshgh" ... Composer: Professor Mohammad Ali Kiani Nejad; Collection "Yeganeh" ... Composer: Professor Derkhani. These have been compiled with her own effort and production.

Dr. Soheila Golestani continues to produce her music works with great passion and enthusiasm.

Dastgah or in the form of short term instruments in traditional Iranian music is a set of several tunes, technically called the corner and the "corner" In step Cook intervals synchronized refers notes. Iranian traditional music of the seven "Device" and five "tiers Song" has been formed. Seven devices include: mahur, Nava, Shur, sigah, chahargah, Rastpanjgah devices, and Homayoun is. As well as five rows vocal, sometimes also called with the name of the device include: singing Abouata, Dashti, singing Afshari, leaving stale singing, and singing of stale is. In fact, the songs are considered a subset of Shur. All devices and even the songs of a number of "bars" that they are special with specific names in traditional music circles are well known.

Prior to the separation of music from music ottomans, music in all these places, according to officials explained and taught. Iran began the separation of music from the Ottoman period, probably to the Timurid dates. In the thirteenth century and fourteenth century (the rule Ilkhan and Timurid Iran), the music of East Anatolia, the concept grew and the music, with what Iran and Herat (Afghanistan today) was played on the differences found from the perspective of Kyzvtr Rafael, along with the developments related to the Iranian music by West, decided to change his basic music theory, and only twelve names of the six main voice holds and for all other concepts Persian names or categories make up Arabic is an alternative categories. As a result of these developments, the emergence of music devices (as a new kind of music Mlvdhay division of Iran). Another result of the formation of the row (Music), respectively.

In the eyes of Walter Feldman, a leading scholar of Ottoman music, when music Turkey are focusing on the basics of music (by expanding the authorities) while also Iranian music on the go Stereotyping (in the sense of focusing on musical form), the share of vocal music in Iran; and the modes (and subsequent devices) were divided into smaller pieces that could be taught separately each (forming row Iranian music). In contrast, some other researchers row in Iran to influence the formation of the West during the Qajar was strongly related to them. The term "device" is likely since the Qajar dynasty of Persian music routine. The word, in fact, replace the word "official", are the two words "hand" and "sometimes" have been combined. In the old Iranian music, "sometimes" means the curtain has proved, so device that is how the fingers on screens in any position to form its own building.

The music of Iran, each device includes a "corner" is. The arrangement corners and melodies of music, "row" they say. This corner from low to high (ranging from bass to treble range), are arranged in tandem. The extent of its audio track of all lower (deeper) is usually the first song and "income" is called. Other corners of each of the audio range, in sequence Mygrnd income and row respectively, and in this way "device" or "authority" to create. Corners taste the absolute masters of Iranian music collection device and the status or dastgah with particular clarity and the row is included. Such as: row Mirza Abdollah, rows Mirza Hosseingholi, row Abolhassan Saba and so on. Of these, Mirza Abdollah row row is considered the most important, because Mirza Abdullah was taught to many students who have artistic heritage to the Qajar era to the present life. In ancient Iranian music for the track sequence or a special item there. For example, in pre-Islamic and Sassanid dynasty, the songs attributed to "Barbad" includes "seven majestic", "C tone" and "Three hundred and sixty hands" that seven days a week, thirty days a month and three hundred and sixty day of the year has been consistent. The music program includes a majestic, a tone and a hands had been. Hakim Nezami's poem "Khosrow and Shirin" Thirty-tone Barbad to disciplining. Muhammad bin bin Mahmoud bin Mohammed Neyshabur are in their musical treatise (sixth century) invented the music to Barbad of the seven screens.

Dastgah to no one in particular, there has not, to say the melodies of the invention is not an ethnic tastes of the people of Iran and created through the ages many of them have preserved Therefore person Device can certain attributed. "Music Machine" to concentrate political power during the Qajar dynasty was born. To be clear about one hundred years after interval between the fall of the Safavid dynasty until the Qajar dynasty at the time of the Shah's stability was possible that some musicians from different regions of Iran are concentrated in the capital and to their musical exchange. The greatest masters of this period were able to disperse issues in a single integrated aesthetic system and "the device" their recognition. Aesthetic device classification system and original material in seven Persian music and its five branches accessories (five rows vocal) and in the middle of the order in the early Qajar period by Farahani family - Mirza Abdollah and Mirza Aqa Ali Akbar Farahani and children Hsynqly- its final form, and the other at the end of the period was fixed.

The first person to develop music theory Iran's Ali Naqi Vaziri was. After studying music in Europe and familiarity with the Western concept of fashion, music theory coined Iran where Iranian row as the system was assumed Music Awards. In the minister, any device based on a step (music) (comprised of two dengue) were made. The Minister also signs series and Kern invented the musical notes of Iran is to be consistent with Western notation wrote. Finally, the Minister for defining each device, three notes have a crucial role and knew they see note (the note is repeated most of all), variable notes (note that the size of a quarter tone varies) and Net Stop (note that most of the sentences on the ends) called.

Classification practices tunes in the device The main characteristic used to classify the melodies, "Frequency" means the fundamental characteristics of sound. In fact, a physical quantity on the basis of a single frequency is called "Hertz" (Hz) or "frequency," is measured. A music sound in principle, is nothing but a regular vibration of a certain frequency vibration device, so that the music of Iran as the main cornerstone of melodies used to classify the frequency of notes and "ratio" between the notes is. Corners are relations between notes in music of the classification. But the point is that Iran is always classified in the Music Machine "relative". That is not always constant proportion between notes on a device based on the proximity and the other fundamental concepts of Iranian music (including: maintenance control, maintenance Stop, etc.) can be different.

How proportions Music consists of seven notes which are as follows: two - in - the - Fa - Sol - La - Si. If any of these notes and the base notes and other notes in sequence consecutive start writing to reach the first note, then a "step" will be created. for example: Do Re Mi Fa Sol La Si Do So the sequence "eight" notes, a step or an "octave" they say. Physically fit between each of these notes is established in terms of frequency. The first note (Do note here left) and base notes say. Base notes it earned the name of each step in the example above, the name of the step, the step-Do. Last note, the note "when" or "octave" is called. (Do Right) In a step notes on a concept called "degrees" are specified. Base notes at each step, notes, "primarily", the note then "second class" is read and the process goes on to note when the note "eighth grade" is. Physical Tnasbaty between the notes is the frequency on which the term "natural spaces" are read. The International Music intervals in the two forms of "Curtains" and "half-tone 'on. Proportionality between the notes are as follows: Do note as the base to the net Re: a curtain Re notes to the notes Mi: a curtain Notes to the notes Mi Fa: semitone Notes to the notes Fa Sol: a curtain Sol notes to Cafe La: a curtain La note to note Si: a curtain Si to Do When notes notes: semitone These distances are called natural, in fact, the basis of "major step" are therefore the major step that distances between all levels except it is a curtain between the third degree - the fourth and seventh - eighth, which is half-tone. All steps into place before we can take major steps, the requirement that in most cases the notes to the half-tone intervals we more or less. To do so, the signs of the flats and sharps are used. Sign-flat, half-tone music to the bottom (bass) and Mark di music brings to semitone above (below) uses. For example, if you want step-major, we must act as follows: Base notes to the notes Mi Fa: normal semitone in distance, but in a major step should be a distance curtains so second-rate notes (Fa) to a half above (below) we therefore become Fa music is #Fa. #Fa Notes to Cafe Sol: semitone intervals (normally a net curtains but because the Fa before the half, raised so the gap between the two notes also began to change), but in a candid step is L.major, so we changed cafe Sol also #Sol. #Sol Notes to Cafe La: a half away is a major step in accordance with the format. La note to note Si: distance is still a curtain major step in accordance with the format. Si notes to notes Do: a half away, but as a major step should be a curtain, so the notes #Do Do we have become. #Do Notes to the notes Re: a half away, but as a major step should be a curtain, so the notes to #Re Re will change. When #Re notes to the note Mi: semitone distance that is consistent with the pattern of major scale, so the step-major to obtain the four notes Fa, Sol, Do, Re the half-tone change. The above example shows that the step (major or minor), fixed format, and the intervals between the notes that must coordinate themselves with frame-by-step. In Persian classical music is the same proportion between the notes. Of course, in the Iranian music device, intervals of less than a half, which is also used in slang term "quarter" is said to be the wrong term. Other signs of change in Iranian music is used by Colonel Ali Naqi Khan Wazir has been developed. Mark Series Notes to the so-called "quarter" raise and Mark Kern notes to the so-called "quarter" down. In music of Iran, rather than step is a concept called the "dengue". Said Dong four notes in succession. The tone and divided proportion between the notes of the melodies to seven and five singing. For example, in Dong first four notes mahur Sol, La, Si, Do used in decline. The dengue control notes, the notes Do. See notes, note that when run on it for repeated emphasis in the dengue acts as the center of gravity. In the first dengue mahur following proportions between the components is established: Sol notes to La: a curtain Of Cafe La to Si: a curtain Si notes to Do: semitone One of the main features of our traditional music control (temporary control) and Stop notes that according to the characteristics and particular relevance among the twelve notes and of course a few other devices (or devices) are divided. This position consists of twelve, seven and five singing. The singing of the technical terms related to the type of device. In other words, songs, subsidiaries of the device. Authorities (devices) Twelve Iranian music are as follows: Shur, which includes four singing as well: Song Abouata Song stale leave Song Afshari Dashti Sigah Chahargah August device, which includes a song as well: Stale Song of (some facilities and some facilities Homayoun know Shur) Mahur Nava Panjgah devices The proportions of ingredients Shur, to an Iranian music is present in all other devices. The mother-in music system on the passion and Iran. The number of device More modern texts, row Iranian music is divided into seven devices, and next to it a few vocal cast also (at least three Dashti, Abouata singing, singing hard to leave, although some Shoshtari singing, singing was stale, and stale singing Isfahan is also on the cast). However, in older divisions (early twentieth century), some theorists twelve Brmyshmrdnd devices, as well as five singing these Brmyshmrdnd devices. For example, Gnaychy Tsuge Abouata among devices Brmyshmrd] and Jean During, the number of devices twelve notes (which run six or seven steps). Hormoz Farhat also cites the number of devices dozen. Relationship device In all contemporary sources, the number of listed dastgah seven but in terms of anatomy (the order and types of spaces) that are considered less than seven. According to Ali Naqi Vaziri, behavior and moods device Panjgah like Knoll and behavior of devices and scenarios Nov well as passion (music), which means the device can be classified into five main families. Darius gold in the research points to the conclusion that by breaking each machine to two dengue can be fully Medal of Persian music using only four dengue (passion, Chahargah, mound, and NOAA / plain) classification. References Fakhr, Farhad. Analysis and description of the music row. Tehran: Publication of modal, 1394. ISBN 978-964-165-098-0. Golden, Darius. Analysis row. Tehran: Reed Publishing, 1394. ISBN 978-0-802605-02-2. Minister, Ali Naqi. Tar command. Tehran, 1266. Golden, Darius. A new approach to the theory of Persian music. Cultural-Artistic Institute Knoll, 1372. Farhat, Hormoz (2004). The Dastgah Concept in Persian Music. Cambridge: Cambridge University Press. ISBN 978-0-521-54206-7.