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Musical and Socio-Cultural Anecdotes from <i>Kitāb al-Aghānī al-Kabīr</i>: Annotated Translations and Commentaries de George Dimitri Sawa

Musical and Socio-Cultural Anecdotes from <i>Kitāb al-Aghānī al-Kabīr</i>: Annotated Translations and Commentaries: Islamic History and Civilization, cartea 159

Autor George Dimitri Sawa
en Limba Engleză Hardback – 23 ian 2019
The present volume consists of translated anecdotes, on musicological and socio-cultural topics, from al-Iṣbahānī’s Kitāb al-Aghānī al-Kabīr (The Grand Book of Songs) with annotations and commentaries. It deals with musical rhythmic and melodic modes, technical terms and treatises; music instruments; composition techniques and processes; education and oral/written transmissions; vocal and instrumental performances and their aesthetics; solo and ensemble music; change and its inevitability; musical and textual improvisations; ṭarab and the acute emotions of joy or grief; medieval dances; social status. Though extracts from The Grand Book of Songs have been translated in European languages since 1816, this work presents a much larger and more comprehensive scope that will benefit musicologists, medievalist and Middle Eastern scholars as well as the general reader.
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Specificații

ISBN-13: 9789004383623
ISBN-10: 900438362X
Dimensiuni: 155 x 235 mm
Greutate: 0.75 kg
Editura: Brill
Colecția Brill
Seria Islamic History and Civilization

Cuprins

PrefaceAcknowledgmentsAbbreviationsEditorial Notes
Introduction: Abū l-Faraj al-Iṣfahānī and His Book of Songs
1 TheoryThe ModesAThe Eight Rhythmic ModesBThe Eight Melodic ModesCThe Three Passages on Rhythmic and Melodic Modes in the Book of SongsDJins and ṬarīqaERare Songs Containing Eight or Ten NotesFEarly Singing: Ḥudāʾ, Naṣb, and RukbānGTechnical TermsHTheoretical Treatises, Anecdotes, Biographies, Song Collections, Authorship, Modes
2 InstrumentsAAerophones: Mizmār, Nāy, and SurnāyBIdiophones: ʿAṣāt, Dawāt, Jaras, Juljul, Khashaba, Miqraʿa, Nāqūs, Qaḍīb, Qarbūs, Raḥl, Ṣaffāqa, ṢanjCMembranophones: ʿArṭaba, Duff, Murabbaʿ, ṬablDChordophones: Barbaṭ, Kankala, Miʿzafa, Mizhar, Ṣanj, Ṭunbūr, ʿūdEStorage and Workshop for Instrument MakingFImprovised Instruments
3 CompositionAThe Use of Music to Embellish and Spread PoetryBThe Origins of Arabic MusicCTechnique and Process of CompositionDDreams and Jinns as Sources for CompositionsEContrafactaFStyle and the Imitation of StyleGComposition: Talent Versus Intellect, Head Versus HeartHSpecializationIAnalysisJAuthorshipKPoems, Composers, and ModesLThe Number of Lines of Poems Set to MusicMChoosing and Altering the Order of the Verses and Mixing PoemsNNames of MelodiesOOutputPQuality Versus QuantityQPoems Conducive to Be Set to MusicRThe Best Composers and CompositionsSComparisonsTWeak CompositionsUWomen’s Compositions and SoftnessVFolklore Songs: Sailors, Masons, and Water CarriersWMonopolies on Poems
4 Education and TransmissionAGeneral EducationBPedigreeCMusic EducationDThe Important Role of Women as Teachers, Transmitters, and MemorizersEMemory LossFLearning and Repetitions, Slow Learners and Fast LearnersGProblems of Difficulty and TransmissionHPrevention of Transmission and StinginessIGood and Bad TransmittersJUnconventional TransmissionsKMiscellaneous
5 PerformanceASingers and SongstressesBTo Sing: Qāla, Qaraʾa, ḤaddathaCVoice ProductionDBeautiful VoiceEPowerful VoiceFPoor VoicesGStratagem for Poor VoicesHExcellence in PerformanceIPoor Performance and WeaknessesJPosturesKDifficult SongsLComparisonsMThe Limitations of DescriptionsOSize of RepertoirePLute Playing in the Persian StyleQLute VirtuosityRInheriting a Family BusinessSPerformance OrderTThe Composition of the Majlis and Its Effect on PerformanceUSongs without Words
6 Solos, Accompaniment, and Ensemble MusicAMurtajil: A CappellaBInstrumental SolosCUnaccompanied Duet SingingDUnison Ensemble SingingEUnison Ensemble Singing with Lute AccompanimentFA Soloist and Her ChorusGHand Clapping, Castanets, and DancingHTambourinesIṬablJLuteKṬunbūrLVoice and NāyMMurtajil and Irtijāl
7 Musical Stability and ChangeAOn the Inevitability of ChangeBChange Is PermissibleCChange Is Frowned UponDWine and Its Positive and Negative Effects on SingingEThe Truth about the Singer Mālik Not Composing but Altering and Beautifying the Songs of OthersFChange as a Tool to Embarrass an Enemy
8 Musical and Textual Improvisations
9 Ṭarab and the Effects of Singing on People and AnimalsAPreliminary DefinitionsBPhysical Effects on People and AnimalsCEmotional EffectsDEffects on the ImaginationETherapeutic EffectsFṬarab and Effects of Music: Miscellaneous Topics
10 DanceAZafn and RaqṣBEarly Arabic Music and Dance According to Ibn KhaldūnCDastband and ĪlāʾDKurrajERaqṣ and the Completion of Musical ArtsFThe 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
11 Physiognomy, Attire, Character, Social Status, and Permissibility of MusicAThe Importance of a Beautiful Face, Body, and AttireBCharacter and KnowledgeCSlaves, Freed Slaves, Mawlās, and FreemanDIs It a Sin to Sing?EIt Is Not a Sin to Sing If the Singer Is Pious and Endowed with Good Character, or If the Songs Are Not EroticFThe Contradictory and Ambiguous Roles of Noblemen, Theologians, and Administrators Toward Music and MusiciansGThe Shame of Being an InstrumentalistHWords of Wisdom in Support of Music
Arabic English GlossaryBibliographyIndex of People and PlacesIndex of Terms and SubjectsCharts

Notă biografică

George Dimitri Sawa is an independent scholar with a PhD in Music and Middle East Studies, from the University of Toronto. He taught Middle Eastern Music History: medieval, modern and sacred music,
at the University of Toronto (1987-1995) and York University (1982-1986, 1994, 2006-2007).

Recenzii

“Unquestionably, this is a volume covering a vast area: literature, history, biography, social comment, and of course information about music and its development. Sawa’s volume is a splendid work for the completion of which a combination of patience and erudition was obviously among its prerequisites, - the result being one of those tomes indispensable for students of Music, Ethnomusicology, and Sociology of Art.”

Stavros Nikolaidis in:Journal of Oriental and African Studies, Volume 29 (2020).