Dastgāh (/ dæstˈɡɑː /; Persian: دستگاه, Classical: [dastˈɡɑːh], Iran: [dæstˈɡɒː (h)]) is the standard musical system in Persian art music, standardised in the 19th century following the transition of Persian music from the Maqam modal system. A dastgāh consists of a collection of musical melodies, gushehs.

Dastgāh-e Māhūr or Dastgaah-e Maahur (Persian: دستگاه ماهور; Azerbaijani: Mahur) is one of the seven Dastgāh s of Persian Music (Classically, Persian Music is organized into seven Dastgāhs and five Āvāz es, however from a merely technical point of view, one can consider them as an ensemble of 12 Dastgāh s).

dastgāh, any of the principal modes of the art music of Persian-speaking areas, used as the basis for composition and improvisation. A dastgāh incorporates a scale, a motif, a group of short pieces, and a recognizable identity.

Every āvāz consists of short pieces and melodies of music called the gousheh that, although each has its own characteristics, share one central characteristic in the āvāz. The seven main Dastgāh of Iranian music are modernly known as Shour, Māhour, Homāyoun, Segāh, Chāhārgāh, Rāstpanjgāh, and Navā.

Jan 11, 2016 · DASTGĀH (دستگاه), modal system in Persian music, representing a level of organization at which a certain number of melodic types (gūša s) are regrouped and ordered in relation to a dominant mode (māya). Each dastgāh takes its name from this dominant mode, which is always played in the introductory parts.

达斯塔加（Dastgah）是伊朗古典音乐中的一种音乐形式，尽管它广受欢迎，但它一直是精英阶层的保存地。 达斯塔加的影响被视为真实性的储存库，其他形式的音乐流派也从中汲取了旋律和演奏灵感。

The tradition of Persian art music embodies twelve modal systems, known as dastgahs. Each dastgah represents a complex of skeletal melodic models on the basis of which a performer produces extemporised pieces.

伊朗（Iran）地处亚洲的西部地区，是一个以高原山地为主的国家，周边同土耳其、伊拉克、巴基斯坦、阿富汗、土库曼斯坦、阿塞拜疆和亚美尼亚等国接壤，北部和里海相接，南部以霍尔木兹海峡为节点分别濒临波斯湾和阿曼湾的辽阔海域，素来享有“东西方空中走廊”或“欧亚陆桥”之称。 伊朗历史上称为波斯，现境内主要的民族为波斯人，其他还有如阿塞拜疆人、库尔德人、土库曼人和盧尔人等少数民族，国语通用波斯语。 在宗教方面，当地居民多数主要信仰伊斯兰教什叶派 …

Dastgâh, Modal system in Persian music, representing a level of organization at which a certain number of melodic types (gûša s) are regrouped and ordered in relation to a dominant mode (mâya). Each dastgâh takes its name from this dominant mode, which is always played in the introductory parts.

The seven primary modes or dastgah are: Shur, Mahur, Homayun, Nava, Segah, Chahargah, and Rast-Panjgah. The five secondary modes or avaz are: Abu-Ata, Bayat-e Tork, Afshari, Dashti and Esfahan. Avaz is derived from dastgah, and hence is shorter in length of composition.