Musical and Socio-Cultural Anecdotes from Kitb al-Aghn al-Kabr

Description

This volume contains annotated translations of anecdotes, on musicological and socio-cultural topics, from al-Ibahns The Grand Book of Songs. Includes music theory and treatises; instruments; composition techniques; education and transmission; vocal and instrumental performances; solo and ensemble music; improvisations; emotions; dances; social status. ‎Contents ‎Preface ‎Acknowledgments ‎Abbreviations ‎Editorial Notes ‎Introduction. Abū l-Faraj al-Iṣfahānī and His Book of Songs ‎Chapter 1. Theory ‎The Modes ‎A. The Eight Rhythmic Modes ‎B. The Eight Melodic Modes ‎C. The Three Passages on Rhythmic and Melodic Modes in the Book of Songs ‎D. Jins and Ṭarīqa ‎E. Rare Songs Containing Eight or Ten Notes ‎F. Early Singing: Hazaj, Ḥudāʾ, Naṣb, and Rukbān ‎G. Technical Terms ‎H. Theoretical Treatises, Anecdotes, Biographies, Song Collections, Authorship, Modes ‎Chapter 2. Instruments ‎A. Aerophones: Mizmār, Nāy, and Surnāy ‎B. Idiophones: ʿAṣāt, Dawāt, Jaras, Juljul, Khashaba, Miqraʿa, Nāqūs, Qaḍīb, Qarbūs, Raḥl, Ṣaffāqa, Ṣanj ‎C. Membranophones: ʿArṭaba, Duff, Murabbaʿ, Ṭabl ‎D. Chordophones: Barbaṭ, Kankala, Miʿzafa, Mizhar, Ṣanj, Ṭunbūr, ʿŪd ‎E. Storage and Workshop for Instrument Making ‎F. Improvised Instruments ‎Chapter 3. Composition ‎A. The Use of Music to Embellish and Spread Poetry ‎B. The Origins of Arabic Music ‎C. Technique and Process of Composition ‎D. Dreams and Jinns as Sources for Compositions ‎E. Contrafacta ‎F. Style and the Imitation of Style ‎G. Composition: Talent Versus Intellect, Head Versus Heart ‎H. Specialization ‎I. Analysis ‎J. Authorship ‎K. Poems, Composers, and Modes ‎L. The Number of Lines of Poems Set to Music ‎M. Choosing and Altering the Order of the Verses and Mixing Poems ‎N. Names of Melodies ‎O. Output ‎P. Quality Versus Quantity ‎Q. Poems Conducive to Be Set to Music ‎R. The Best Composers and Compositions ‎S. Comparisons ‎T. Weak Compositions ‎U. Women’s Compositions and Softness ‎V. Folklore Songs: Sailors, Masons, and Water Carriers ‎W. Monopolies on Poems ‎Chapter 4. Education and Transmission ‎A. General Education ‎B. Pedigree ‎C. Music Education ‎D. The Important Role of Women as Teachers, Transmitters, and Memorizers ‎E. Memory Loss ‎F. Learning and Repetition, Slow Learners and Fast Learners ‎G. Problems of Difficulty and Transmission ‎H. Prevention of Transmission and Stinginess ‎I. Good and Bad Transmitters ‎J. Unconventional Transmissions ‎K. Miscellaneous ‎Chapter 5. Performance ‎A. Singers and Songstresses ‎B. To Sing: Qāla, Qaraʾa, Ḥaddatha ‎C. Voice Production ‎D. Beautiful Voice ‎E. Powerful Voice ‎F. Poor Voices ‎G. Stratagem for a Poor Voice ‎H. Excellence in Performance ‎I. Poor Performance and Weakness ‎J. Postures ‎K. Difficult Songs ‎L. Comparisons ‎M. The Limitations of Descriptions ‎O. Size of Repertoire ‎P. Lute Playing in the Persian Style ‎Q. Lute Virtuosity ‎R. Inheriting a Family Business ‎S. Performance Order ‎T. The Composition of the Majlis and Its Effect on Performance ‎U. Songs without Words ‎Chapter 6. Solos, Accompaniment, and Ensemble Music ‎A. Murtajil: A Cappella ‎B. Instrumental Solos ‎C. Unaccompanied Duet Singing ‎D. Unison Ensemble Singing ‎E. Unison Ensemble Singing with Lute Accompaniment ‎F. A Soloist and Her Chorus ‎G. Hand Clapping, Castanets, and Dancing ‎H. Tambourines ‎I. Ṭabl ‎J. Lute ‎K. Ṭunbūr ‎L. Voice and Nāy ‎M. Murtajil and Irtijāl ‎Chapter 7. Musical Stability and Change ‎A. On the Inevitability of Change ‎B. Change Is Permissible ‎C. Change Is Frowned Upon ‎D. Wine and Its Positive and Negative Effects on Singing ‎E. The Truth about the Singer Mālik Not Composing but Altering and Beautifying the Songs of Others ‎F. Change as a Tool to Embarrass an Enemy ‎Chapter 8. Musical and Textual Improvisations ‎Chapter 9. Ṭarab and the Effects of Singing on People and Animals ‎A. Preliminary Definitions ‎B. Physical Effects on People and Animals ‎C. Emotional Effects ‎D. Effects on the Imagination ‎E. Therapeutic Effects ‎F. Ṭarab and Effects of Music: Miscellaneous Topics ‎Chapter 10. Dance ‎A. Zafn and Raqṣ ‎B. Early Arabic Music and Dance According to Ibn Khaldūn ‎C. Dastband and Īlāʾ ‎D. Kurraj ‎E. Raqṣ and the Completion of Musical Arts ‎F. The Required Qualities of Dancers, According to the Oration of an Anonymous Singer/Boon Companion of the Caliph al-Muʿtamid, as Reported in the Meadows of Gold of al-Masʿūdī ‎Chapter 11. Physiognomy, Attire, Character, Social Status, and the Permissibility of Music ‎A. The Importance of a Beautiful Face, Body, and Attire ‎B. Character and Knowledge ‎C. Slaves, Freed Slaves, Mawlās, and Freemen ‎D. Is It a Sin to Sing? ‎E. It Is Not a Sin to Sing If the Singer Is Pious and Endowed with Good Character, or If the Songs Are Not Erotic ‎F. The Contradictory and Ambiguous Roles of Noblemen, Theologians, and Administrators Toward Music and Musicians ‎G. The Shame of Being an Instrumentalist ‎H. Words of Wisdom in Support of Music ‎Arabic English Glossary ‎Charts ‎Bibliography ‎Index of People and Places ‎Index of Terms and Subjects