The PolGāh Framework: A Systematic, Comparative Modal Matrix and Compositional Syntax Bridging Persian Dastgāhs and Flamenco Palos

This research introduces a novel, transdisciplinary framework named PolGāh—a structural and compositional synthesis designed to bridge the non-tempered modal ontologies of classical Persian music (Dastgāh) with the traditional frameworks of Spanish Flamenco Palos. Moving away from superficial historical narratives, this paper establishes a systematic, aural-first analytical methodology to map structural, intervallic, and rhythmic correspondences between these two rich oral traditions. The core of the project focuses on four foundational pairs: MAHCANTI (Māhūr and Cantiñas), SHURMA (Shur and Malagueña), CHARZAM (Chahārgāh and Zambra), and HOMASE (Homāyoun and Siguiriyas). By utilizing a specialized color-and-sign graphic notation system and a C-based semitone step distance matrix, the PolGāh suite explicitly resolves microtonal intervals (such as Koron and Sori) alongside Western equal temperament, mapping exact points of scalar symmetry and microtonal fracture. Furthermore, this paper outlines the comparative cadential strategies (the Persian Forūd versus the Flamenco Compás cadence) and metric polarities that govern phrase-driven temporal frameworks in both cultures. Supported by practice-led creative experimentation—including original string quartet and piano compositions—the PolGāh framework provides an empirical blueprint for cross-cultural modal composition, bridging rigorous systematic musicology with contemporary artistic practice.