|
214 |
Cf.
3:341, below. |
215 |
Of
the instruments mentioned by Ibn Khaldun, the
shabbabah is the only one to occur
in a list of musical instruments that appears in a Western work
on music written, it seems, at the beginning of the fourteenth
century. Cf. H. G. Farmer in Journal of
the Royal Asiatic Society (1935), pp.
339-53. Cf. also GAL, Suppl., III, 1279, and J.
Robson in Islamic Culture, XXVI
(1952), 113-31. For illustrations of some of the musical
instruments mentioned here, cf. also Farmer,
The Minstrelsy of "The Arabian Nights"
(Bearsden [Scot.], 1945). |
216 |
Ala sadadihi "straight" is apparently
intended to indicate that there is no special mouthpiece, as in
the case of the trumpet. Or should we read 'aid sadadatin
"through the obstruction of"? |
217 |
Cf.
H. G. Farmer in El, s.v. "Mizmar. Farmer writes
zullami, possibly on the basis of the vocalization given in
one or another manuscript. |
218 |
Cf.
H. G. Farmer in El, Supplement, s.v. "Buk." |
219 |
The
MSS are not very distinct in their readings, but they seem to
have duna. Dawr would be difficult; possibly "turn" or
"circle of a hand"? |
220 |
For
the three instruments, cf. H. G. Farmer in El, s.v. 'Ud,"
"Rabab," and "Mi'zaf." |
221 |
Bulaq adds here: "This has a secret (meaning)
which those attuned to it will understand. It indicates original
oneness. If you look at anything outside of yourself and
contemplate it, you notice that between yourself and that (other
thing), there exists a oneness in origin that attests to the
oneness of (yourself and that other thing) in coming into
existence."
At the end of the paragraph, Bulaq adds: "Indeed,
in this situation the soul desires to quit (the realm of) the
imagination for reality, which is oneness of origin and coming
into existence."
These additions advocate a monism that apparently later seemed
objectionable to Ibn Khaldun. The thought left in the text is
obviously much more moderate. The outstanding representative of
this kind of monistic mysticism was Ibn 'Arab!, whose teachings
were both widely adopted and bitterly opposed in Ibn Khaldun's
day. One of the latter's pupils, Shams-ad-din alBisati, d. 842
[1439], was a fervent admirer of Ibn 'Arabi, as we know from as-Suyutt's
Tanbi'at al-ghabi bi-tabri'at Ibn
al-'Arab!. Ibn Khaldun himself refers
to Ibn 'Arabi and his school in his chapter on Sufism. |
222 |
Lit., "racecourse." For the history of the word, cf. J. Robson
and H. G. Farmer, Ancient Arabian
Musical Instruments as Described by al-Mufaddal ibn Salama (9th
Century) (Glasgow, 1938), p. 5. |
223 |
Lit., "drive." |
224 |
Music is not treated among the sciences, although it is
enumerated among them. Cf. 3:112, below. |
225 |
Cf.
Ibn Abi Zayd, Risalah,
ed. and tr. L. Bercher, pp. 300 f. |
226 |
The lengthening (ishba') of
short vowels (or, perhaps, the full-length
pronunciation of
long vowels, discussed in connection with the
reading of
the Qur'an). Cf. the following note. |
227 |
For
madd, cf. as-Suyuti,
Itqan, I, 98 ff. |
228 |
That
is, what is good for one party is detrimental to the other. The
phrase sounds very much like a legal maxim. The Turkish
translator paraphrases "the rules of
music . . . the rules
of Qur'an recitation." |
229 |
Bulaq adds: "It is in no way necessary. as Malik says." The
sentence is also found in C, but is crossed out. |
230 |
Cf. Concordance, II,
343a; al-Bukhari, Sahih,
III, 407. The famous tradition is
quoted in connection with the biography
of Abu MQsa al-Ash'arl.
Cf. adh-Dhahabi, Ta'rikh al-Islam,
II, 256 f.; Ibn Hajar,
Tahdhib, V, 363.
In the Autobiography,
p. 45, Ibn Khaldun says that his
teacher az-Zawawi possessed a voice belonging among the flutes
of David's
family.
According to the interpretation of the
lexicographers (cf. Lisan al-'Arab,
V, 416), we should understand
mizmar as the
musical instrument (flute), not as corresponding to
maxmrir "psalm," and at
"family" should be considered superfluous or as having here the
otherwise unknown meaning of
"person." As pointed out by H. G. Farmer in
El, s.v. "Mizmar,"
it is clear that the statement harks back to the Biblical "a
psalm of
David," and means: "He psalmodizes like one
of David's people."
(Not like David himself, for that would be impossible for anyone
not a prophet.) However, Ibn Khaldun understood the statement as
translated above. |
231 |
Cf.
3:373 ff., below. |
232 |
Al-maqati' wa-l-mabadi'. Instead of
mabadi', one
would expect almatali'
here, since this is the term literary critics
link with maqati'. As a technical term, mabadi' usually (though
not, of course, exclusively) refers to the opening of a poem,
considered as a unit, but this would not apply here. The precise
meaning of maqati'
and matali'
is a matter of dispute among literary critics.
The two words are said to refer, respectively, either to the end
and the beginning of a verse, or to the end of the first
hemistich and the beginning of the second hemistich. Cf. Ibn
Rashiq, 'Umdah
(Cairo, 1353/ 1934), 1, 188 ff.; and
Gaudefroy-Demombynes, in his translation of the introduction to
Ibn Qutaybah, Shi'r
(Paris, 1947), p. 47 (n. 26). |
233 |
Ibn
Rashiq, 'Umdah, I, 17, ascribes this famous definition of poetry
to Ibn 'Abbas. Cf. also 3:304, 341, 367, 374, and 410, below. |
234 |
Although Ibn Khaldun uses the singular "book," probably no
specific work on music is meant here. |
235 |
Cf.
R. Dozy in Journal Asiatique,
XIV 6 (1869), 163 f. |
236 |
Cf.
n. 1214 to Ch. vi, below. Cf. also
Lisan al-'Arab, VI, 307. |
237 |
Cf. Ibn Rashiq, 'Umdah,
II, 296.
Sindd is defined there as "the heavy
(rhythm) that has repetitions and many trills (naghamdt) and
high-pitched notes." The above definition of
hazaj is also derived
from the 'Umdah.
Ibn Khaldun does not mention the third kind
mentioned in the 'Umdah,
called narb.
The three kinds are also mentioned together by
al-Mufatldal b. Salamah; cf. J. Robson and H. G. Farmer,
Ancient Arabian Musical Instruments, p. 19.
Robson and Farmer translate the
definition of sindd as follows: "the heavy (rhythm), having a
refrain, the low-pitched voice, and the glottal hiatus." Cf.,
further, Ibn'Abdrabbih,'Igd(Cairo, 1305/1887), III, 186; H. G.
Farmer, A History of Arabian Music
(London, 1929), p. 50. |
238 |
Ibn
Khaldun apparently means al-halum,
and not al-hulum
"serious minds." The edition of the 'Umdah
quoted above has al-halim. Al-Mufaddal reads
al-hulqum "the throat
finds it easy." |
239 |
Ghadarah, as in the MSS. |
240 |
Cf. H. G. Farmer
in El, s.v. "Mi'zaf" |
241 |
Information on all these famous musicians may be
found in H. G. Farmer, A History of
Arabian Music, pp. 52 ff., 79
ff., 116 ff., 171. |
242 |
Cf.
also GAL, Suppl., I, 228. |
243 |
Cf.
pp. 74 f., above.
This
paragraph has been translated and discussed by M.
GaudefroyDemombynes, "Sur le cheval-jupon et al-Kurraj," in
Melanges offerts a William Marfais
(Paris, 1950), pp. 156 f. The word
translated above as "sticks," is considered by
Gaudefroy-Demombynes to mean "instruments d'accompagnement,"
as it often does. |
244 |
`Ali
b. Nafi'. Cf. H. G. Farmer in El, Supplement, s.v. "Ziryab."
It was Isbaq rather than his father Ibrahim al-Mawlili, with
whom Ziryab is said to have had difficulties. Ziryab later was
invited by al-Hakam to come to Spain, but al-Hakam died in 822,
before Ziryab could join him. Al-Hakam's son and successor, 'Abd-ar-Rabmin
II, received Ziryab in Spain in the manner described by Ibn
Khaldun. |
245 |
Qur'an
15.86(86); 86.81 (81). |
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