The focus of this study is on analyzing and classifying various types of javab-e avaz in Iranian classical music. The saz o avaz performances in the album Nava Morakkabkhani serve as a comprehensive and precise sample of typological forms of javab-e avaz; therefore, the album has been selected as the case study, since it fulfills both the scientific and practical objectives of the research in a reliable manner. Within this framework, different categories of javab-e avaz are identified and systematized as follows: responses dependent on modal factors (mod-pardaz and mod-gardan); responses dependent on metric factors (Mowzoon and Nimemowzoon); responses resembling literary formal patterns (Vajara, Mostazādi, and Talmihi/Tazmini); and responses that either remain close to or diverge from the vocal line (Moobemoo, Dorageh, and Chandrageh). Emphasizing the significance of balancing the vocal line and the javab-e avaz within the saz o avaz genre is another objective of the research, highlighting how they are mutually interdependent in shaping a coherent performance. Thematic analysis is utilized in the research to examine the complex and intricate structures of Saz O Avaz, with a particular emphasis on Javab-e Avaz and its internal connections with the vocal line. Defamiliarization is the basis of the theoretical framework, which translates Javab-e Avaz as a device that challenges auditory expectations and emphasizes musical language. From this perspective, the analysis also gains an explicitly interdisciplinary dimension. The proposed typologies therefore contribute to a deeper understanding of performance structures in saz o avaz within Iranian classical music and can open new directions for future scholarly research in this field.