Buch, Englisch, Band 184, 354 Seiten, Format (B × H): 155 mm x 235 mm, Gewicht: 749 g
Annotated Translation and Commentary
Buch, Englisch, Band 184, 354 Seiten, Format (B × H): 155 mm x 235 mm, Gewicht: 749 g
Reihe: Islamic History and Civilization
ISBN: 978-90-04-46546-6
Verlag: Brill
The first part in 80 chapters deals with compositions; voice production and characteristics, unison and duet singing, taking care of the voice; preludes, ornaments, tarab; the importance of tonality; approaches to teaching; musical and extra-musical behavior at the court; names of Syrian Fatimid and Ishshidid singers.
The second part in 22 chapters includes lute manufacturing, frets placement, stringing and tuning; 47 rhythmic ornaments, names and definitions of rhythmic and melodic modes; types of dances; descriptions of 12 instruments.
Autoren/Hrsg.
Fachgebiete
- Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein
- Geisteswissenschaften Musikwissenschaft Geschichte der Musik Geschichte der Musik: Mittelalter & Renaissance
- Geisteswissenschaften Geschichtswissenschaft Weltgeschichte & Geschichte einzelner Länder und Gebietsräume Geschichte einzelner Länder Naher & Mittlerer Osten
Weitere Infos & Material
Preface
Acknowledgments
Abbreviations
Part 1: The Theoretical Arts
Introduction
Chapter 1: The Preference of Speech over Muteness
Chapter 2: The Gems of Philosophers’ Aphorisms
Chapter 3: On the Sophistication of Melodies
Chapter 4: The Meanings of Melodies
Chapter 5: Composing Melodies That Suit the Poems
Chapter 6: The Definition of Singing and Its Components
Chapter 7: The Definition of the Voice and Its Production
Chapter 8: Poetic and Musical Divisions
Chapter 9: The Origin of Arabic Singing
Chapter 10: Favoring Older Poetry over the Modern
Chapter 11: Favoring Older Singing over the Modern
Chapter 12: The Character, Effects, and Types of Melodies
Chapter 13: The Names of the First Male Singers in the Jahiliyya
Chapter 14: The Names of the First Songstresses in the Jahiliyya
Chapter 15: The Names of the First Male Singers in Early Islam
Chapter 16: The Names of the First Songstresses in Early Islam in addition to the Ones I Have Already Mentioned
Chapter 17: The Names of the Effeminates in Early Islam
Chapter 18: The First to Notate Songs
Chapter 19: The Grand, Medium, and Smaller Compositions
Chapter 20: ?arab and Its Causes
Chapter 21: The Tonalities in Singing, Their Arrangements and Types
Chapter 22: Vowels and Consonants
Chapter 23: Testing the Essences of the Voices
Chapter 24: Tricks Used to Bring Throats in Tune with the Strings
Chapter 25: The Names of Voices (?alq), Their Good and Bad Qualities
Chapter 26: Beautiful (mula?) Vocal Music, Techniques, and Qualities
Chapter 27: Tricks Used in Stealing Songs and Precautions to Prevent This
Chapter 28: Food and Drinks That Are Beneficial to the Throats and Those That Are Not
Chapter 29: Locations That Are Beneficial for Voices and Improve Them, and Those That Diminish and Spoil Them
Chapter 30: The Ranks of Boon Companions and Singers
Chapter 31: Instruments That Overwhelm the Voices and Other Factors
Chapter 32: The Care of Throats in General, and before and after Puberty
Chapter 33: On Knowing the Reasons Musicians Get Off Rhythm
Chapter 34: Approaches to Teaching and How to Apply Them
Chapter 35: The Reasons for Poor Intonation and Its Characteristics
Chapter 36: Planning and Determining Where and How Much to Breathe
Chapter 37: Murasala, mubayana, and mumathala
Chapter 38: Syncopation and Guidance to It
Chapter 39: Twittering and Its Derivation
Chapter 40: The Definition of tarkhim
Chapter 41: Tarji? and Its Characteristics
Chapter 42: Nashids and Their Types
Chapter 43: What Stimulates the Singer To Be Active and What Makes Him Sluggish
Chapter 44: Opening Songs in the Company of Kings
Chapter 45: How to Arrange and Order the Songs in the majalis
Chapter 46: Good Qualities [to Have] While Singing
Chapter 47: Good and Bad Song Themes
Chapter 48: Who Are Better: The Singers of Persia, India, or Byzantium
Chapter 49: Mention of the Male Singers in the Umayyad Era
Chapter 50: Mention of the Songstresses in the Umayyad Era
Chapter 51: Mention of the Male Singers in the ?Abbasid Era
Chapter 52: Mention of the Songstresses in the ?Abbasid Era
Chapter 53: Mention of the Slave Singers and Songstresses in the ?Abbasid Era
Chapter 54: Mention of the Male Singers and Songstresses in the Ikhshidid Era in Egypt
Chapter 55: Mention of the Male Singers in the ?Alawid Era in Egypt
Chapter 56: Mention of the Songstresses in the ?Alawid Era in Egypt
Chapter 57: Mention of the Male Slave Singers in the ?Alawid Era in Egypt
Chapter 58: Mention of the Male Syrian Singers
Chapter 59: Mention of the Syrian Songstresses
Chapter 60: Mention of the Umayyad Caliphs Who Sang
Chapter 61: Mention of the ?Abbasid Caliphs Who Sang
Chapter 62: Mention of the ?Abbasid Caliphs’ Sons Who Sang
Chapter 63: Mention of the ?Abbasid Caliphs’ Daughters Who Sang
Chapter 64: Mention of the Viziers, Princes, and Their Sons Who Sang
Chapter 65: Mention of the Male and Female ?unbur Players
Chapter 66: On the Proper Behavior to Praise Men and Women When They Reach a State of ?Arab
Chapter 67: Mention of the One Hundred Chosen Songs
Chapter 68: The Permissibility of Singing
Chapter 69: The Qualities of a Skilled Singer
Chapter 70: Tools to Use to Test the Person Who Pretends to Know the Science of Music
Chapter 71: Bad Intonation among Men and Women
Chapter 72: Higher and Lower Octaves
Chapter 73: How to Choose Would-Be Singers [Girls and Boys] in Order to Teach Them Singing
Chapter 74: Behavior before Kings and Their Subjects
Chapter 75: Sayings and Poems of Praise about Male Singers and Songstresses in the Past
Chapter 76: Satirical Poems about Male Singers and Songstresses in Earlier Times
Chapter 77: Poems of Praise about Male Singers in Our Era
Chapter 78: Satirical Poems about Male Singers [and Songstresses] in Our Era
Chapter 79: The Compositional Output of Male Singers in Earlier Times
Chapter 80: Stories about Male Singers in Earlier Times and Their Pedigree
Part 2: The Practical Arts
Chapter 1: The Meaning of the Word Music
Chapter 2: The Inventor of the Lute and Differing Views about It
Chapter 3: The Dimensions of the Lute, Its Material, Construction, and Names of Its Various Parts
Chapter 4: The Frets, Their Names, Placements, Tying Them on the Finger Board, and Their Functions
Chapter 5: The Strings, Their Characters, Names, Choosing Them, and Stringing Them on the Lute
Chapter 6: The Names of Rhythmic Modes (?ariqa), Their Types (jins), Their Cycles, and Number of Attacks
Chapter 7: The State of the Notes, Their Qualities, Quantities, Numbers, and Placements on the Strings of the Lute
Chapter 8: The Genuses of Notes Used at the Beginning of a Piece, and Types of Movements through the Frets
Chapter 9: The Rhythmic Modes in Use, [and the Player’s] Motions and Required Matters
Chapter 10: The Best Person to Have Played the Persian Lute, and the Number of Persian Modes
Chapter 11: The Best Person to Have Played the Arabic Lute and to Have Sung Arabic Songs Accompanying Himself
Chapter 12: The Description of the Lute, Its Praise, Preferring It to All Other Instruments That Accompany Singing, What It Resembles, and Poems Composed about It
Chapter 13: The Reason for Setting the zir String at the Bottom, and the bamm at the Top
Chapter 14: Tuning and Detuning the Strings
Chapter 15: The Beautiful Techniques (mula?) That Affect the Rhythms and Rhythmic Modes, Their Numbers and Types
Chapter 16: On Dance, Its Types and Names [Ibn al-?a??an’s Passage Quoted by al-Tifashi]
Chapter 17: [On the] Disagreement between [Is?aq b.] Ibrahim al-Maw?ili and Ibrahim b. al-Mahdi about the Rhythmic Modes
Chapter 18: The Definitions of al-surayji, al-makhuri, al-mujannab, and al-mukhalif
Chapter 19: The Definitions of al-khusruwani, al-?arkhani, al-?umayri, and khafif hazaj
Chapter 20: On Choosing the Proper Instrument to Fit Various Throats
Chapter 21: Mention of the ?unbur, mi?zafa, rabab, mizmar, ?abl, urghun, qithara, sulyaq, duff, ?alikh, and kankala
Chapter 22: On Which Particular Genuses of Modes Should be Used in Which Types of Melodies; Modes Used Plainly (sadhij) without Mixing (tamzij) and without Moving [from One to Another] are Unpleasant and Do Not Cause ?arab
Appendix: Ibn Khurdadhbih’s Passage Quoted by al-Tifashi. The Number of Types of Dances, Nations, and Regions That Created Them
Arabic-English Glossary
Chart
Bibliography
Index of People and Places
Index of Terms and Subjects
