In the Western philosophy of music, Peter Kivy's contour theory has emphasized the structural resemblance between sonic patterns and the motor-emotional patterns of the human body, and considered literal representation of abstract concepts to be possible only through cultural convention. On the other hand, Ruhollāh Khāleqi, in his works, had described the dastgāh of Chahargāh as an epic, progressive system carrying attributes such as courage, without these claims having been systematically examined within a philosophical analytical framework. Accordingly, the present study sought to fill this epistemological gap by raising the central question: to what extent, based on Kivy's contour theory and enhanced formalism, can Khāleqi's representationalist views on Chahargāh be analyzed, confirmed, or criticized? The main aim was to achieve a more precise understanding of the relationship between representation and expressivity in Iranian dastgāh music and to test the cross cultural limits of Kivy's theory. The necessity of the research arose from the fact that no previous study had directly engaged analytical philosophy of music with indigenous theories of representation in the Persian tradition, and Khāleqi's perspective had remained without theoretical formulation at the level of contemporary debates in the philosophy of music. The research method was qualitative, of an analytical critical type, with documentary data collection, and the case study focused on the dastgāh of Chahargāh and Khāleqi's views. The findings showed that the ascending contours of the darāmad of Chahargāh and the tension of augmented intervals in the mokhālef section create a limited structural resemblance to the motor patterns of epic and courage. However, the major part of Khāleqi's epic attribution, personification (the "perfect human"), and mystical nationalist ascription lies beyond the boundaries of Kivy's enhanced formalism and is mainly rooted in cultural conventions, performative contexts, and the historical use of Chahargāh in zurkhānehs and Shahnameh recitations. The conclusion determined that Kivy's theory provides a useful framework for the formal layer, but is insufficient for explaining the phenomenon of hāl (present moment mood/state) in Iranian music that has intervals different from Western music and is improvisation centered; this insufficiency highlights the necessity of developing an intercultural philosophy of music.