Author:
George Dimitri Sawa
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Type:
Chapter
Pages:
70–71
DOI:
https://doi.org/10.1163/9789004542785_018

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Series:  Islamic History and Civilization, Volume: 206
Cover <i>Mutʿat al-asmāʿ fī ʿilm al-samāʿ<i>, The Ears’ Pleasure and the Science of Listening to Music by Aḥmad b. Yūsuf al-Tīfāshī al-Qafṣī (580-651/1184-1253)
E-Book ISBN:
9789004542785
Publisher:
Brill
Print Publication Date:
10 Nov 2023
Front Matter
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Mutʿat al-asmāʿ fī ʿilm al-samāʿ The Ears’ Pleasure and the Science of Listening To Music [fol. 1; al-Sillāmī 53–54]
Chapter 1 The Eminence of Listening to Music above All Else, and the Superiority of Melodies and the Wonderful Effects They Have on the Human Body [fols. 6–7; al-Sillāmī 61–62]
Chapter 2 The Importance of Listening to Singing While Drinking and the Exclusive Usefulness of Listening While Drinking over Other Activities [fols. 7–9; al-Sillāmī 63–65]
Chapter 3 When It Is Appropriate to Listen and Drink [fol. 10; al-Sillāmī 67]
Chapter 4 The Order of Singing in a Drinking Majlis [fols. 10–11; al-Sillāmī 69]
Chapter 5 The Poetical Qualities That Complete the Pleasure of the Listener When Added to Music [fols. 11–12; al-Sillāmī 71–72]
Chapter 6 How the Strings Wondrously Affect the Four Humors That Make Up the Human Body [fols. 12–14; al-Sillāmī 73–74]
Chapter 7 About the Divine Secret Causing the Effects of Melodies on the Souls of Humans and Animals [fols. 14–16; al-Sillāmī 75–76]
Chapter 8 The Singer’s Excellent Qualities [fols. 16–17; al-Sillāmī 77]
Chapter 9 How to Listen to Singing in the Musical Majlis [fol. 17; al-Sillāmī 79]
Chapter 10 The Singing Styles of People of Different Regions [and the Repertoire of the People of the Maghrib] [fols. 17–32; al-Sillāmī 81–105]
Chapter 11 Andalusian Musical Laws: [The Composers and] Their Instruments [fols. 32–34, 36a–B, 117–132; al-Sillāmī 107–135]
Chapter 12 The Origin of the Old Singing and the Modes Used in All the Songs of the Arabs and the Persians in the Eastern and Western Empire [fols. 34–40; al-Sillāmī 137–142]
Chapter 13 Mention of the Memorized Repertoire among the Common Singers in Our Era in the Eastern Empire and Their Poems [fols. 40–42; al-Sillāmī 143–145]
Chapter 14 The Difference in Superiority between the Easy and Plain Singing with Few Cycles and Notes, and Its Opposite, the One with Heavier Cycles and Many Notes [fols. 43–45; al-Sillāmī 147–148]
Chapter 15 Melodies That Resemble the Meanings and Suit the Poems [fols. 45–47; al-Sillāmī 149–150]
Chapter 17 The Origin of Arabic Singing, Its Source and Birth Place [fols. 48–49; al-Sillāmī 153]
Chapter 18 Favoring Older Singing over the Modern [fols. 49–52; al-Sillāmī 155–157]
Chapter 19 The Process of Composition [fols. 52–54; al-Sillāmī 159–161]
Chapter 20 The Amount of Ṭarab That Affects the Person Knowledgeable in the Art of Singing [fols. 54–55; al-Sillāmī 163]
Chapter 21 What Songs the Singer Should Start with at the Beginning of His Performance in the Majlis [fols. 55–56; al-Sillāmī 165–166]
Chapter 22 The Necessary Conditions of the Excellent Singer and His Good Standing with Listeners [fols. 56–58; al-Sillāmī 167–168]
Chapter 23 Good and Bad, Stated or Implied Song Themes [fols. 58–60; al-Sillāmī 169–170]
Chapter 24 On the Proper Behavior to Praise Men and Women Singers [fols. 60–61; al-Sillāmī 171–172]
Chapter 25 The Conditions Required to Be a Skilled Singer, and the Necessity of Combining Theoretical and Practical Knowledge [fols. 61–64; al-Sillāmī 173–175]
Chapter 26 How to Choose Would-Be Singers (Girls and Boys) in order to Teach Them Singing [fols. 64a, 65; al-Sillāmī 177]
Chapter 27 Which Singer Is Pleasant to Listen to [fol. 64b; al-Sillāmī 179]
Chapter 28 Singing and the Requirements of Dignified Hearing and Respectful Listening [fols. 64b–c; al-Sillāmī 181]
Chapter 29 The Relation between the Prosodic Meters and the Rhythmic Modes [fols. 65–66; al-Sillāmī 183]
Chapter 30 Behavior in front of Kings and Their Subjects [fols. 66–68; al-Sillāmī 185–186]
Chapter 31 The First to Invent and Devise Rhythm [fols. 68–69; al-Sillāmī 187]
Chapter 32 The Rhythmic Modes (Ṭarīqa), Their Numbers, Their Basic (Aṣl) and Ornamented Forms (Farʿ) [fols. 69–72; al-Sillāmī 189–192]
Chapter 33 Which Particular Genuses of Modes Should Be Used in Which Types of Melodies [fols. 72–75; al-Sillāmī 193–195]
Chapter 34 The Characteristics of the Urghānīn Copied from Ibn al-Ṭaḥḥān’s Treatise [fols. 75–80; Sillāmī 197–200]
Chapter 35 The Characteristics of the Rabāb from the Book of Ibn al-Ṭaḥḥān [fols. 80–82; al-Sillāmī 201–202]
Chapter 36 The Characteristics of the Lute from the Rasāʾil (Epistles) of the Ikhwān al-Ṣafāʾ [fols. 82–88; al-Sillāmī 203–208]
Chapter 37 The Resemblance of the Laws of Music to the Laws of Prosody [fols. 88–91; al-Sillāmī 209–212]
Chapter 38 The Durations of the Attacks, the Durations of the Rhythmic Modes, Their Harmony and Disharmony That Are Called Being in Rhythm and off Rhythm [fols. 91–94; al-Sillāmī 213–215]
94Chapter 39 [The Reason for Calling the ʿŪd the Barbaṭ; the First to Create It and Play It; the Reason for Bringing It into Existence;] ʿŪd Strings and Their Relations with the Four Basic Elements and the Four Humors of the Human Being [fols. 141–144, 95–100; al-Sillāmī 217–225]
Chapter 40 The Rhythmic Modes [fols. 100–103; al-Sillāmī 227–231]
Chapter 41 How Compactly Twisted Strings and Less Dense Strings Affect the Human Humors [fols. 103–106; al-Sillāmī 233–234]
Chapter 42 At What Time Should Singing Slave Girls Be Invited to Sing [fol. 106; al-Sillāmī 235–236]
Chapter 43 Wonderful and Beautiful Poems about the Description of Singing, Singers, and Their Instruments [fols. 107–111; al-Sillāmī 237–250]
111Chapter 44 Poems about Musical Instruments [fols. 111–116, 145; al-Sillāmī 251–265]
Chapter 45 Good Satires Mentioned about Mediocre Singers and Wind Players (Zamara) [fols. 145–146; al-Sillāmī 267–272]
Chapter 46 Dance and the Requirements the Dancer Must Fulfill to Be Free of Mistakes and Imperfections; Mention of Excellent Skills; Mention of the Types Used in Various Regions and Countries [fols. 147–154; al-Sillāmī 273–280]
Chapter 47 Marvelous and Pure Poems Composed by Eastern and Western Poets about All Types of Dances and Shadow Dances [fols. 155–157, 135–140, 158–169; al-Sillāmī 281–304]
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