This book, brings together original studies that examine the theoretical, practical, and philosophical‑aesthetic dimensions of music from an interdisciplinary perspective. Within the context of the tar repertory, it presents comparative analyses of works composed for the tar framed by makam and mugam theory; the sections on vocal narrative and musical acting systematically set out performance practices and practice‑oriented techniques, providing concrete insights into the technical, dramatic, and interpretive dimensions of musical acting. Theoretical contributions interrogate the epistemic and ethical consequences of instrumental and value‑based rationality in music, thereby enriching aesthetic and philosophical discourse. Enriched by international contributions, the collection combines analytical rigor with performative sensitivity and aims to open new research trajectories and interdisciplinary dialogues in music theory, musical theatre studies, and aesthetic, philosophy.