| 1)
The
study is based on the Arabic text that I have written by examining the three
oldest copy of al-Sharafiyyah in Turkey (The
Language and History-Geography Faculty, Saib Sencer Manuscripts no: I/4810;
Topkapý Palace Museum Library, III. Ahmad, no: 3460; Nuruosmani Library,
no: 3647) and the copy in Paris Bibliotheque Nationale numbered 2479). |
| 2)
See
the subjects on the theory of sound; al-Fârâbi, Ebû Nasr
Muhammad b. Muhammad b. Tarhân, (d. 950) Kitâb
al-Mûsîqi al-Kabîr, ed, Gattâs Abd al-Melik
Hashebe, Mahmûd Ahmad al-Hifnî, Cairo, n.d. pp. 211-224; Ikhwan
al-Safâ, Rasâil, al-Risâlah al-Hâmise
fi al-Mûsiqi, ed, Hayr al-Dîn al-Ziriklî, Cairo,
1928, i, 137-141; Ibn Sîna, (d. 1037), Kitâb
al-Shifâ, Cawâmi Ilm al-Mûsiqi, ed. Zekeriyya Yusuf,
Cairo, 1956. pp. 4-13; d'Erlanger, "Traite anonyme dedie au Sultan
Osmanli Muhammed II", La Musique Arabe,
Paris, 1939, iii, 17-25, Fath Allah al-Shirwânî Majallah
fi al-Mûsiqi, ed. Fuat Sezgin, Frankfurt 1986, v. 26, fols.
47-54; Muhammad b. Abd al-Hamid al-Lâdhiqî, al-Risâlah
al-Fathiyyah fi al-Mûsiqi Istanbul Municipality Taqsim Ataturk
Library no. K. 23, fols: 13b-16b; Rauf Yekta, Türk
Mûsikîsi Nazariyâti, (Turkish Music Theoretic),
Istanbul, 1924, pp. 14-34. |
| 3)
These
11 ratios which are out of the numbers of equality are mentioned in Mukaddimat
al-Usûl as how it was mentioned in al-Sharafiyyah, Alishah b. Haci
Buke, Mukaddimat al-Usûl, University of Istanbul, The Library of Ancient
Works, The Department of Persian Manuscripts, no. 1097, fol. 5a. In addition,
for the information al-Shirwâni gives over the intervals and ratios
see: al-Shirwâni, Majallah fi al-Mûsiqi, fol. 39…
|
| 4)
In the Treatises of Al-Kindî, the terms
of octave, pentachord, tetrachord and tanînî (9/8) are frequently
encountered. See Ahmed Hakki Turabi, el-Kindî'nin
Mûsikî Risâleleri, MA Thesis, Istanbul 1996, (Risalah
fi Khubr Sinâat al-Ta'lîf) p. 113. |
| In
the Risâlah fi al-Mûsiqi of Ikhwân
al-Safâ, there is no information on the ratios of the numbers with
each other in the way Safi al-Dîn put forward. However, the sentences
in Ikhwân al-Safâ about this subject are important. "The
best compositions are the ones produced with the most consonant ratios"
Ikhwân al-Safâ, Risâlah fi al-Mûsiqi, i, 161. Then,
it is pointed out that these consonant ratios are 2/1, 3/2, 4/3, 5/4, 9/8.
Ikhwân al-Safâ, Risâlah fi al-Mûsiqi,
i, 164. |
| In
the Sixth Risâlah of Ikhwân al-Safâ
where "numbers, the effect of numerical ratios
on the people and the ratios related to music" mostly take place,
these subjects are examined: "The ratio is a measure between two amounts.
When the two numbers are compared to each other, both are either equal or
not. If there is no equality between the two numbers, one is either smaller
or bigger than the other. When small one is compared to the big one, there
are nine positions. These are 3/2, 4/3, 5/4, 6/5, 7/6, 8/7, 9/8, 10/9, 11/10…Besides,
the ratios of di'f (two fold), mithl and cuz, mithl
and ecza, di'f and cuz, di'f and ecza and eda'f
are taken place. Ikhwân al-Safâ, al-Risâlah
al-Sadise fi al-Nisbat al-Adadiyyah ve al-Handasiyyah, i, 181-182.
|
| After
naming nine harmonious intervals as octave, pentachord, tetrachord, tanînî,
mujannab, bakiyye, two octaves, octave and pentachord, octave and tetrachord,
Shirwanî points out that the consonant intervals are 12 in practice
and he adds three octaves, two octaves and pentachord, two octaves and tetrachord
to the ones mentioned above. al-Shirwâni Majallah
fi al-Mûsiqi, fols. 59-66. |
| 5)
For
the same definition see; al-Shirwâni Majallah fi al-Mûsiqi,
fol. 59. |
| 6)Ibn
Sîna divides the intervals into three as large, middle and small intervals.
Octave interval were classified by Ibn Sîna as grand interval, tetrachord
and pentachord intervals as middle, and the others coming after tetrachord
are classified as lahnî . And also to him, the grand lahnî intervals
are the ones with 5/4, 6/5, 7/6, 8/7, 9/8, 10/9, 11/10, 12/11, 13/12, 14/13
ratios. Middle lahnî intervals are the ones from 15/14 to 29/28. The
others starting with 30/29 are the small lahnî intervals. Ibn Sîna,
Cawâmi Ilm al-Mûsiqi, pp. 23-25.
|
| Al-Lâdhiqî
classified intervals as grand, middle and small like Safi al-Dîn did
and he pointed out that this classification belongs to Safi al-Dîn.
Besides, this classification exists in Al-Shirwâni as well. al-Lâdhiqî,
al-Risâlah al-Fathiyyah, fol. 35b; Also
see; al-Shirwânî Majallah fi al-Mûsiqi,
fols. 92-93. |
| The
big and middle interval Rauf Yekta pointed out with a heading of "consonant
intervals" are the same as the ones Safi al-Dîn recorded. Yekta
pointed out all the other intervals except these as "small intervals"
and showed them on the staff. Yekta, Türk Musikisi
Nazariyâti, p. 94; Also see Traite Anonyme,
pp. 34-41. |
| 7)
The subjects
of the addition, the division and the subtraction of the intervals don't
take place in Treatises of al-Kindi, and Rasâil
of Ikhwân al-Safâ.Al-Fârâbi studied this
subject at the heading of "simple numerical relations between the intervals"
and studied it in detail. Al-Fârâbi, Kitâb al-Mûsîqi
al-Kabîr, pp. 188-204. |
| Ibn
Sîna allocated the second discourse of his work into this subject.
The first part of the second discourse, which he divided into two, is about
the addition of the intervals with each other and subtraction of them from
each other and the second part is about redoubling of the intervals and
the division of them. Ibn Sîna, Cawâmi,
pp. 33-41. |
| The
addition, subtraction and division of the intervals of the following periods
are carried on to be examined. Al-Ladhiqî allocated the second part
into these subjects. Rauf Yekta dealt with this subject in detail with a
heading of "Mûsikînin Mebâdi-i Riyaziyesi" (The
Preliminary Mathematics of Music). Türk Musikisi
Nazariyati, pp. 35-45.
|
| 8)
As
it is seen Safi al-Dîn emphasizes on the kinds so much in his work.
This subject is also taken place in detail in al-Fârâbi. But
al-Kindi also explains three kinds, tanînî,(including
every diatonic kinds) lawnî (including
every chromatic kinds) and te'lîfî
(composed kind-including every enharmonic kinds) with a heading of kinds.
Tanînî is composed of "tanînî-tanînî-fadla
(ton-ton-limma)" intervals. Lawnî is arranged as fadla-fadla-three
halves tanînî; (1 ½ tone). Te'lîfî kind is
arranged as irkha-irkha-two tanînî (tones). For detailed information
see Risalah fi Khubr Sinâat al-Ta'lif,
(Turabi, p. 124). |
| Al-Fârâbi
examined layyin and kawî
kinds with a heading of "the arrangement and classes of
the kinds" in detail. Although it has a great similarity with al-Fârâbi,
Safi al-Dîn never names al-Fârâbi in the third discourse
where he mentions about the arrangement of the kinds. Al-Fârâbî,
Kitâb al-Mûsîqa al-Kabîr,
pp. 278, 317. |
| Ibn
Sîna allocated the third discourse of Cawâmi
into kinds. He calls the kinds, which he explains they are composed of three
intervals and a four notes, as "lahni". Kawî kinds are explained
in the third discourse and lawnî ones
are in the fourth part. For details see: Ibn Sîna, Cawâmi,
pp. 45-46. |
| While
al-Ladhiqî writes a great deal about the kinds in his work, al-Shirwâni
never mentions it with a reason that "his brief work would exceed the
capacity". See. Al-Ladhiqî, al-Risâlah
al-Fathiyyah, fols. 53a…; Traite Anonyme,
pp. 51-76; al-Shirwâni, Majallah fi al-Mûsiqi,
fol. 99. |
| Rauf
Yekta takes this subject into his work and explains it completely parallel
with Safi al-Dîn. After examining all the kinds Safi al-Dîn
did, Rauf Yekta explains: "After this tiring work, maybe it will be
asked how many tetrachords consonants with each other were obtained. As
a respond we would say with shyness that only four consonants were decided
and tetrachord was obtained. The others were confined into the theoretical
books. Additionally, these obscured the ideas of the European artists who
attempted to do unfruitful works to realize them while they were unveiling
the mystery of the kinds in Greek music so many centuries later. Yekta,
Türk Musikisi Nazariyati, pp.59, 63. |
9)
See. Al-Fârâbi, Kitâb
al-Mûsîqi al-Kabîr, p. 329-332; This subject
was taken place in al-Ladhiqî and Traite Anonyme
just like the one in al-Sharafiyyah. See.
Al-Risâlah al-Fathiyyah, fols. 38a-41a;
Traite Anonyme, pp. 78-91.
|
10)
Safi al-Dîn, Kitâb al-Adwâr,
Yale University, The Beineke Rare Book and Manuscript Library, No. S.
73. fol. 30.
|
11)
Alishah
presented seven scales of one octave he showed in an Ushshâq scale
of two octaves with their names and he pointed out these full scales are
called as "all sort of kinds". Alishah b. Haci Buke, Mukaddimat
al-Usûl, fol. 29b; also see for bahr Al-Ladhiqî, al-Risâla
al-Fathiya, fol. 76a; for common notes see. Traite
Anonyme, p. 103.
|
12)
Ikhwan al-Safâ, al-Risâlah
fi al-Mûsiqi, i, 148.
|
13)
Al-Fârâbi,
Kitâb al-Mûsiqi al-Kabîr,
p. 498.
|
14)
Al-Ladhiqî,
al-Risâlah al-Fathiyyah, fol. 88a.
|
15)
Al-Kindi
talks about the strings of this instrument in detail both in the book
Kitâb al-Musavvitat al-Vatariyyah (See,
Turabi, pp. 149-153) and in Risâlah fi Aczâ
Khubriyyah (Turabi, pp. 163-167) and he connects celestial bodies,
natural events, and human morality with emotions and behaviours. Also
see; Ikhwan al-Safâ, i, 149, al-Fârâbi, Kitâb
al-Mûsiqi al-Kabîr, p. 502; Ibn Sîna, Cawâmi,
p. 148.
|
16)
Kitâb
al-Musavvitat al-Vatariyyah
(Turabi, p. 142).
|
17)
Al-Fârâbî,
Kitâb al-Mûsiqi al-Kabîr,
pp. 588-592.
|
18)
Ibn
Sîna, Cawâmi, p. 148; Alishah,
Mukaddimat al-Usûl, fols. 89a-89b.
|
19)
Al-Fârâbi,
Kitâb al-Mûsiqi al-Kabîr,
p. 597. Here al-Fârâbi tells about various accord orders of
ûd.
|
20)
Al-Kindi,
al-Risâlah al-Kubrâ fi al-Ta'lîf
(Turabi, p. 176); Ikhvan al- Safa, i, 149, Ibn Sîna, Cewâmi,
p. 148.
|
21)
Safi
al-Dîn, Kitâb al-Adwâr,
fol. 33.
|
| 22)
Safi
al-Dîn, Kitâb al-Adwâr, fols.
4-6; Alishah b. Haci Buke, Mukaddimat al-Usûl,
fols. 48a-49a; Traite Anonyme, pp. 27-28; Al-Ladhiqî,
al-Risâlah al-Fathiyyah, fols. 25a-26a;
Also see; Yalçin Tura, Türk Musikisinin
Meseleleri (The Pproblems of Turkish Music) Istanbul, 1988, pp. 182-184;
M. Cihat Can, XV. Yüzyýl Türk Mûsikîsi
Nazariyâti (Ses Sistemi), Ph.D. Thesis, Istanbul, 2001, pp.
156-157; Murat Bardakçi, Meragali Abdulkadir,
Istanbul, 1986, pp. 56-57. |
| 23)
This
is the kind as Safi al-Dîn indicates, having a value of 5/4. The ratio
is the average value of the major third with a value of 8192/6561 used in
practice. |
| 24)
Safi
al-Dîn gives the ratio of 6/5 for Râhewî. But the ratio
of 6/5 is the ratio used in stead of the minor third with the ratio of 32/27.
|
25)
In the Treatises of al-Kindi, although the
maqams which Safi al-Dîn mentioned with the names above are not taken
place, together with tanînî, lawnî and te'lîfi names
consisting the maqams, three more kinds and seven maqam ranges are presented.
These are shown with the notes of modern time by the editors studying on
al-Kindi. These maqams do not have a special names in al-Kindi but they
are shown with their equal maqams in the Greek music. Turabi, pp. 83-84.
The subject of maqam is in the important topics of following music manuscripts.
The source of these adwars is Safi Al-Dîn.
However, there have been substantial differentiations in defining maqams
and their numbers and existed important variaties about this subject between
these manuscripts. See Alishah, fols. 14b-24b; al-Ladhiqî, al-Risâlah
al-Fathiyyah, fols. 74a-74b; al-Shirwâni, Majallah
fi al-Mûsiqi, fol. 100; Hizir b. Abd
Allah, Kitâb al-Adwâr, Topkapi Rewan no: 1728, fol. 63b;
Traite Anonyme, pp, 107-120.
|