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008 231123s2024 gw sb 001 0 eng d
020 |a9789004542785|q(electronic book)
020 |z9789004542778|q(print)
024 7 |a110.1163/9789004542785|2DOI
035 |z(OCoLC)1395539412
040 |aNL-LeKB|cNL-LeKB|erda
041 |aeng
049 |aTürk Tarih Kurumu Kütüphanesi
050 4|aMT6
072 7|aMUS|x041000|2bisacsh
082 04|a780.072|223
090 |aDK/0905
100 1 |aSawa, George,|eauthor.
245 10|aMutʿat al-asmāʿ fī ʿilm al-samāʿ, The Ears’ Pleasure and the Science of Listening to Music by Aḥmad b. Yūsuf al-Tīfāshī al-Qafṣī (580-651/1184-1253) /|cGeorge Sawa.
264 4|c©2024
300 |a1 online resource (188 pages) :|billustrations.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|2rdacarrier
490 1 |aIslamic History and Civilization ;|v206
490 1 |aMiddle East and Islamic Studies E-Books Online, Collection 2024
504 |aIncludes bibliographical references and index.
505 0 |tFront Matter -- Mutʿat al-asmāʿ fī ʿilm al-samāʿ The Ears’ Pleasure and the Science of Listening To Music [fol. 1; al-Sillāmī 53–54] /|rAḥmad b. Yūsuf al-Tīfāshī l-Qafṣī -- 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] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- Chapter 3 When It Is Appropriate to Listen and Drink [fol. 10; al-Sillāmī 67] /|rGeorge Dimitri Sawa -- Chapter 4 The Order of Singing in a Drinking Majlis [fols. 10–11; al-Sillāmī 69] /|rGeorge Dimitri Sawa -- Chapter 5 The Poetical Qualities That Complete the Pleasure of the Listener When Added to Music [fols. 11–12; al-Sillāmī 71–72] /|rGeorge Dimitri Sawa -- Chapter 6 How the Strings Wondrously Affect the Four Humors That Make Up the Human Body [fols. 12–14; al-Sillāmī 73–74] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- Chapter 8 The Singer’s Excellent Qualities [fols. 16–17; al-Sillāmī 77] /|rGeorge Dimitri Sawa -- Chapter 9 How to Listen to Singing in the Musical Majlis [fol. 17; al-Sillāmī 79] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- Chapter 11 Andalusian Musical Laws: [The Composers and] Their Instruments [fols. 32–34, 36a–B, 117–132; al-Sillāmī 107–135] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- Chapter 15 Melodies That Resemble the Meanings and Suit the Poems [fols. 45–47; al-Sillāmī 149–150] /|rGeorge Dimitri Sawa -- Chapter 16 The Definition of Singing [fol. 48; al-Sillāmī 151] /|rGeorge Dimitri Sawa -- Chapter 17 The Origin of Arabic Singing, Its Source and Birth Place [fols. 48–49; al-Sillāmī 153] /|rGeorge Dimitri Sawa -- Chapter 18 Favoring Older Singing over the Modern [fols. 49–52; al-Sillāmī 155–157] /|rGeorge Dimitri Sawa -- Chapter 19 The Process of Composition [fols. 52–54; al-Sillāmī 159–161] /|rGeorge Dimitri Sawa -- Chapter 20 The Amount of Ṭarab That Affects the Person Knowledgeable in the Art of Singing [fols. 54–55; al-Sillāmī 163] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- Chapter 22 The Necessary Conditions of the Excellent Singer and His Good Standing with Listeners [fols. 56–58; al-Sillāmī 167–168] /|rGeorge Dimitri Sawa -- Chapter 23 Good and Bad, Stated or Implied Song Themes [fols. 58–60; al-Sillāmī 169–170] /|rGeorge Dimitri Sawa -- Chapter 24 On the Proper Behavior to Praise Men and Women Singers [fols. 60–61; al-Sillāmī 171–172] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- Chapter 26 How to Choose Would-Be Singers (Girls and Boys) in order to Teach Them Singing [fols. 64a, 65; al-Sillāmī 177] /|rGeorge Dimitri Sawa -- Chapter 27 Which Singer Is Pleasant to Listen to [fol. 64b; al-Sillāmī 179] /|rGeorge Dimitri Sawa -- Chapter 28 Singing and the Requirements of Dignified Hearing and Respectful Listening [fols. 64b–c; al-Sillāmī 181] /|rGeorge Dimitri Sawa -- Chapter 29 The Relation between the Prosodic Meters and the Rhythmic Modes [fols. 65–66; al-Sillāmī 183] /|rGeorge Dimitri Sawa -- Chapter 30 Behavior in front of Kings and Their Subjects [fols. 66–68; al-Sillāmī 185–186] /|rGeorge Dimitri Sawa -- Chapter 31 The First to Invent and Devise Rhythm [fols. 68–69; al-Sillāmī 187] /|rGeorge Dimitri Sawa -- Chapter 32 The Rhythmic Modes ( Ṭarīqa ), Their Numbers, Their Basic ( Aṣl ) and Ornamented Forms ( Farʿ ) [fols. 69–72; al-Sillāmī 189–192] /|rGeorge Dimitri Sawa -- Chapter 33 Which Particular Genuses of Modes Should Be Used in Which Types of Melodies [fols. 72–75; al-Sillāmī 193–195] /|rGeorge Dimitri Sawa -- Chapter 34 The Characteristics of the Urghānīn Copied from Ibn al-Ṭaḥḥān’s Treatise [fols. 75–80; Sillāmī 197–200] /|rGeorge Dimitri Sawa -- Chapter 35 The Characteristics of the Rabāb from the Book of Ibn al-Ṭaḥḥān [fols. 80–82; al-Sillāmī 201–202] /|rGeorge Dimitri Sawa -- Chapter 36 The Characteristics of the Lute from the Rasāʾil (Epistles) of the Ikhwān al-Ṣafāʾ [fols. 82–88; al-Sillāmī 203–208] /|rGeorge Dimitri Sawa -- Chapter 37 The Resemblance of the Laws of Music to the Laws of Prosody [fols. 88–91; al-Sillāmī 209–212] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- Chapter 40 The Rhythmic Modes [fols. 100–103; al-Sillāmī 227–231] /|rGeorge Dimitri Sawa -- Chapter 41 How Compactly Twisted Strings and Less Dense Strings Affect the Human Humors [fols. 103–106; al-Sillāmī 233–234] /|rGeorge Dimitri Sawa -- Chapter 42 At What Time Should Singing Slave Girls Be Invited to Sing [fol. 106; al-Sillāmī 235–236] /|rGeorge Dimitri Sawa -- Chapter 43 Wonderful and Beautiful Poems about the Description of Singing, Singers, and Their Instruments [fols. 107–111; al-Sillāmī 237–250] /|rGeorge Dimitri Sawa -- 111Chapter 44 Poems about Musical Instruments [fols. 111–116, 145; al-Sillāmī 251–265] /|rGeorge Dimitri Sawa -- Chapter 45 Good Satires Mentioned about Mediocre Singers and Wind Players ( Zamara ) [fols. 145–146; al-Sillāmī 267–272] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- 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] /|rGeorge Dimitri Sawa -- Back Matter.
520 |aThe manuscript from the thirteenth century deals with musicians’ behaviour at the court; singers'qualities; the eminence of music and its effect on people and animals; the importance of drinking when listening to music; the process of composition; rhythmic and melodic modes, and repertoire in Andalusia, the Maghreb, Persia and the Middle East; Andalusian song lyrics and the appearance of new poetic forms such as the zajal and the muwashshaḥ ; Andalusian musical instruments; dances of Egypt, Iraq, Syria, India and China; Andalusian dances and shadow plays and shadow dancers; aesthetics of dance; poems describing the dances.
546 |aEnglish
588 |aDescription based on print version record.
650 0|aMusic appreciation.
650 0|aMusical analysis.
776 08|iPrint version:|tMutʿat al-asmāʿ fī ʿilm al-samāʿ, The Ears’ Pleasure and the Science of Listening to Music by Aḥmad b. Yūsuf al-Tīfāshī al-Qafṣī (580-651/1184-1253).|dLeiden ; Boston : Brill, 2024.|z9789004542778
830 0|aIslamic History and Civilization ;|v206.
830 0|aMiddle East and Islamic Studies E-Books Online, Collection 2024.
856 4 |zDOI:|uhttp://dx.doi.org/10.1163/9789004542785