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ḤÄwÄ« l-FunÅ«n wa-Salwat al-MaḥzÅ«n, Encompasser of the Arts and Consoler of the Grief-Stricken by Ibn al-ṬaḥḥÄn
Annotated Translation and Commentary
Series: - Islamic History and Civilization, Volume: 184
Author:
ḤÄwÄ« l-FunÅ«n (Encompasser of the Arts) of Ibn al-ṬaḥḥÄn (d. ca. 1057) is a medieval Arabic music dictionary that complements other sources because of the practical knowledge of the author who was an accomplished singer, lutenist and composer.
The first part in 80 chapters deals with compositions; voice production and characteristics, unison and duet singing, taking care of the voice; preludes, ornaments, á¹arab; the importance of tonality; approaches to teaching; musical and extra-musical behavior at the court; names of Syrian Fatimid and IshshÄ«did singers.
The second part in 22 chapters includes lute manufacturing, frets placement, stringing and tuning; 47 rhythmic ornaments, names and definitions of rhythmic and melodic modes; types of dances; descriptions of 12 instruments.
The first part in 80 chapters deals with compositions; voice production and characteristics, unison and duet singing, taking care of the voice; preludes, ornaments, á¹arab; the importance of tonality; approaches to teaching; musical and extra-musical behavior at the court; names of Syrian Fatimid and IshshÄ«did singers.
The second part in 22 chapters includes lute manufacturing, frets placement, stringing and tuning; 47 rhythmic ornaments, names and definitions of rhythmic and melodic modes; types of dances; descriptions of 12 instruments.
George Dimitri Sawa, Ph.D. (1983, University of Toronto) is an independent researcher concentrating on medieval Arabic music theory and literature. He was trained in Egypt in qanun and classical Arabic music, and in Toronto in Arabic historical musicology. He taught medieval, modern and sacred music at the University of Toronto and York University. He has published over 50 articles in encyclopaedias and academic journals, and is the author of six books: Music Performance Practice in the Early Ê¿AbbÄsid Era and Rhythmic Theories and Practices in Arabic Writings to 950 CE (Institute of Medieval Music, 2009, 2020); Egyptian Music Appreciation and Practice for Bellydancers (Toronto, 2010); Erotica, Love and Humor in Arabia (McFarland, 2016); An Arabic Musical and Socio-Cultural Glossary of KitÄb al-AghÄnÄ« and Musical and Socio-Cultural Anecdotes from KitÄb al-AghÄnÄ« l-KabÄ«r (Brill, 2015, 2019).
Preface
Acknowledgments
Abbreviations
Part 1: The Theoretical Arts
âIntroduction
âChapter 1: The Preference of Speech over Muteness
âChapter 2: The Gems of Philosophersâ Aphorisms
âChapter 3: On the Sophistication of Melodies
âChapter 4: The Meanings of Melodies
âChapter 5: Composing Melodies That Suit the Poems
âChapter 6: The Definition of Singing and Its Components
âChapter 7: The Definition of the Voice and Its Production
âChapter 8: Poetic and Musical Divisions
âChapter 9: The Origin of Arabic Singing
âChapter 10: Favoring Older Poetry over the Modern
âChapter 11: Favoring Older Singing over the Modern
âChapter 12: The Character, Effects, and Types of Melodies
âChapter 13: The Names of the First Male Singers in the JÄhiliyya
âChapter 14: The Names of the First Songstresses in the JÄhiliyya
âChapter 15: The Names of the First Male Singers in Early Islam
âChapter 16: The Names of the First Songstresses in Early Islam in addition to the Ones I Have Already Mentioned
âChapter 17: The Names of the Effeminates in Early Islam
âChapter 18: The First to Notate Songs
âChapter 19: The Grand, Medium, and Smaller Compositions
âChapter 20: Ṭarab and Its Causes
âChapter 21: The Tonalities in Singing, Their Arrangements and Types
âChapter 22: Vowels and Consonants
âChapter 23: Testing the Essences of the Voices
âChapter 24: Tricks Used to Bring Throats in Tune with the Strings
âChapter 25: The Names of Voices (ḥalq), Their Good and Bad Qualities
âChapter 26: Beautiful (mulaḥ) Vocal Music, Techniques, and Qualities
âChapter 27: Tricks Used in Stealing Songs and Precautions to Prevent This
âChapter 28: Food and Drinks That Are Beneficial to the Throats and Those That Are Not
âChapter 29: Locations That Are Beneficial for Voices and Improve Them, and Those That Diminish and Spoil Them
âChapter 30: The Ranks of Boon Companions and Singers
âChapter 31: Instruments That Overwhelm the Voices and Other Factors
âChapter 32: The Care of Throats in General, and before and after Puberty
âChapter 33: On Knowing the Reasons Musicians Get Off Rhythm
âChapter 34: Approaches to Teaching and How to Apply Them
âChapter 35: The Reasons for Poor Intonation and Its Characteristics
âChapter 36: Planning and Determining Where and How Much to Breathe
âChapter 37: MurÄsala, mubÄyana, and mumÄthala
âChapter 38: Syncopation and Guidance to It
âChapter 39: Twittering and Its Derivation
âChapter 40: The Definition of tarkhÄ«m
âChapter 41: TarjÄ«Ê¿ and Its Characteristics
âChapter 42: NashÄ«ds and Their Types
âChapter 43: What Stimulates the Singer To Be Active and What Makes Him Sluggish
âChapter 44: Opening Songs in the Company of Kings
âChapter 45: How to Arrange and Order the Songs in the majÄlis
âChapter 46: Good Qualities [to Have] While Singing
âChapter 47: Good and Bad Song Themes
âChapter 48: Who Are Better: The Singers of Persia, India, or Byzantium
âChapter 49: Mention of the Male Singers in the Umayyad Era
âChapter 50: Mention of the Songstresses in the Umayyad Era
âChapter 51: Mention of the Male Singers in the Ê¿AbbÄsid Era
âChapter 52: Mention of the Songstresses in the Ê¿AbbÄsid Era
âChapter 53: Mention of the Slave Singers and Songstresses in the Ê¿AbbÄsid Era
âChapter 54: Mention of the Male Singers and Songstresses in the IkhshÄ«did Era in Egypt
âChapter 55: Mention of the Male Singers in the Ê¿Alawid Era in Egypt
âChapter 56: Mention of the Songstresses in the Ê¿Alawid Era in Egypt
âChapter 57: Mention of the Male Slave Singers in the Ê¿Alawid Era in Egypt
âChapter 58: Mention of the Male Syrian Singers
âChapter 59: Mention of the Syrian Songstresses
âChapter 60: Mention of the Umayyad Caliphs Who Sang
âChapter 61: Mention of the Ê¿AbbÄsid Caliphs Who Sang
âChapter 62: Mention of the Ê¿AbbÄsid Caliphsâ Sons Who Sang
âChapter 63: Mention of the Ê¿AbbÄsid Caliphsâ Daughters Who Sang
âChapter 64: Mention of the Viziers, Princes, and Their Sons Who Sang
âChapter 65: Mention of the Male and Female á¹unbÅ«r Players
âChapter 66: On the Proper Behavior to Praise Men and Women When They Reach a State of á¹Arab
âChapter 67: Mention of the One Hundred Chosen Songs
âChapter 68: The Permissibility of Singing
âChapter 69: The Qualities of a Skilled Singer
âChapter 70: Tools to Use to Test the Person Who Pretends to Know the Science of Music
âChapter 71: Bad Intonation among Men and Women
âChapter 72: Higher and Lower Octaves
âChapter 73: How to Choose Would-Be Singers [Girls and Boys] in Order to Teach Them Singing
âChapter 74: Behavior before Kings and Their Subjects
âChapter 75: Sayings and Poems of Praise about Male Singers and Songstresses in the Past
âChapter 76: Satirical Poems about Male Singers and Songstresses in Earlier Times
âChapter 77: Poems of Praise about Male Singers in Our Era
âChapter 78: Satirical Poems about Male Singers [and Songstresses] in Our Era
âChapter 79: The Compositional Output of Male Singers in Earlier Times
âChapter 80: Stories about Male Singers in Earlier Times and Their Pedigree
Part 2: The Practical Arts
âChapter 1: The Meaning of the Word Music
âChapter 2: The Inventor of the Lute and Differing Views about It
âChapter 3: The Dimensions of the Lute, Its Material, Construction, and Names of Its Various Parts
âChapter 4: The Frets, Their Names, Placements, Tying Them on the Finger Board, and Their Functions
âChapter 5: The Strings, Their Characters, Names, Choosing Them, and Stringing Them on the Lute
âChapter 6: The Names of Rhythmic Modes (á¹arÄ«qa), Their Types (jins), Their Cycles, and Number of Attacks
âChapter 7: The State of the Notes, Their Qualities, Quantities, Numbers, and Placements on the Strings of the Lute
âChapter 8: The Genuses of Notes Used at the Beginning of a Piece, and Types of Movements through the Frets
âChapter 9: The Rhythmic Modes in Use, [and the Playerâs] Motions and Required Matters
âChapter 10: The Best Person to Have Played the Persian Lute, and the Number of Persian Modes
âChapter 11: The Best Person to Have Played the Arabic Lute and to Have Sung Arabic Songs Accompanying Himself
âChapter 12: The Description of the Lute, Its Praise, Preferring It to All Other Instruments That Accompany Singing, What It Resembles, and Poems Composed about It
âChapter 13: The Reason for Setting the zÄ«r String at the Bottom, and the bamm at the Top
âChapter 14: Tuning and Detuning the Strings
âChapter 15: The Beautiful Techniques (mulaḥ) That Affect the Rhythms and Rhythmic Modes, Their Numbers and Types
âChapter 16: On Dance, Its Types and Names [Ibn al-ṬaḥḥÄnâs Passage Quoted by al-TÄ«fÄshÄ«]
âChapter 17: [On the] Disagreement between [IsḥÄq b.] IbrÄhÄ«m al-Mawá¹£ilÄ« and IbrÄhÄ«m b. al-MahdÄ« about the Rhythmic Modes
âChapter 18: The Definitions of al-surayjÄ«, al-mÄkhÅ«rÄ«, al-mujannab, and al-mukhÄlif
âChapter 19: The Definitions of al-khusruwÄnÄ«, al-á¹arkhÄnÄ«, al-ḥumayrÄ«, and khafÄ«f hazaj
âChapter 20: On Choosing the Proper Instrument to Fit Various Throats
âChapter 21: Mention of the á¹unbÅ«r, miÊ¿zafa, rabÄb, mizmÄr, á¹abl, urghun, qÄ«thÄra, sulyÄq, duff, á¹£alÄ«kh, and kankala
âChapter 22: On Which Particular Genuses of Modes Should be Used in Which Types of Melodies; Modes Used Plainly (sÄdhij) without Mixing (tamzÄ«j) and without Moving [from One to Another] are Unpleasant and Do Not Cause á¹arab
âAppendix: Ibn KhurdÄdhbihâs Passage Quoted by al-TÄ«fÄshÄ«. The Number of Types of Dances, Nations, and Regions That Created Them
Arabic-English Glossary
Chart
Bibliography
Index of People and Places
Index of Terms and Subjects
Acknowledgments
Abbreviations
Part 1: The Theoretical Arts
âIntroduction
âChapter 1: The Preference of Speech over Muteness
âChapter 2: The Gems of Philosophersâ Aphorisms
âChapter 3: On the Sophistication of Melodies
âChapter 4: The Meanings of Melodies
âChapter 5: Composing Melodies That Suit the Poems
âChapter 6: The Definition of Singing and Its Components
âChapter 7: The Definition of the Voice and Its Production
âChapter 8: Poetic and Musical Divisions
âChapter 9: The Origin of Arabic Singing
âChapter 10: Favoring Older Poetry over the Modern
âChapter 11: Favoring Older Singing over the Modern
âChapter 12: The Character, Effects, and Types of Melodies
âChapter 13: The Names of the First Male Singers in the JÄhiliyya
âChapter 14: The Names of the First Songstresses in the JÄhiliyya
âChapter 15: The Names of the First Male Singers in Early Islam
âChapter 16: The Names of the First Songstresses in Early Islam in addition to the Ones I Have Already Mentioned
âChapter 17: The Names of the Effeminates in Early Islam
âChapter 18: The First to Notate Songs
âChapter 19: The Grand, Medium, and Smaller Compositions
âChapter 20: Ṭarab and Its Causes
âChapter 21: The Tonalities in Singing, Their Arrangements and Types
âChapter 22: Vowels and Consonants
âChapter 23: Testing the Essences of the Voices
âChapter 24: Tricks Used to Bring Throats in Tune with the Strings
âChapter 25: The Names of Voices (ḥalq), Their Good and Bad Qualities
âChapter 26: Beautiful (mulaḥ) Vocal Music, Techniques, and Qualities
âChapter 27: Tricks Used in Stealing Songs and Precautions to Prevent This
âChapter 28: Food and Drinks That Are Beneficial to the Throats and Those That Are Not
âChapter 29: Locations That Are Beneficial for Voices and Improve Them, and Those That Diminish and Spoil Them
âChapter 30: The Ranks of Boon Companions and Singers
âChapter 31: Instruments That Overwhelm the Voices and Other Factors
âChapter 32: The Care of Throats in General, and before and after Puberty
âChapter 33: On Knowing the Reasons Musicians Get Off Rhythm
âChapter 34: Approaches to Teaching and How to Apply Them
âChapter 35: The Reasons for Poor Intonation and Its Characteristics
âChapter 36: Planning and Determining Where and How Much to Breathe
âChapter 37: MurÄsala, mubÄyana, and mumÄthala
âChapter 38: Syncopation and Guidance to It
âChapter 39: Twittering and Its Derivation
âChapter 40: The Definition of tarkhÄ«m
âChapter 41: TarjÄ«Ê¿ and Its Characteristics
âChapter 42: NashÄ«ds and Their Types
âChapter 43: What Stimulates the Singer To Be Active and What Makes Him Sluggish
âChapter 44: Opening Songs in the Company of Kings
âChapter 45: How to Arrange and Order the Songs in the majÄlis
âChapter 46: Good Qualities [to Have] While Singing
âChapter 47: Good and Bad Song Themes
âChapter 48: Who Are Better: The Singers of Persia, India, or Byzantium
âChapter 49: Mention of the Male Singers in the Umayyad Era
âChapter 50: Mention of the Songstresses in the Umayyad Era
âChapter 51: Mention of the Male Singers in the Ê¿AbbÄsid Era
âChapter 52: Mention of the Songstresses in the Ê¿AbbÄsid Era
âChapter 53: Mention of the Slave Singers and Songstresses in the Ê¿AbbÄsid Era
âChapter 54: Mention of the Male Singers and Songstresses in the IkhshÄ«did Era in Egypt
âChapter 55: Mention of the Male Singers in the Ê¿Alawid Era in Egypt
âChapter 56: Mention of the Songstresses in the Ê¿Alawid Era in Egypt
âChapter 57: Mention of the Male Slave Singers in the Ê¿Alawid Era in Egypt
âChapter 58: Mention of the Male Syrian Singers
âChapter 59: Mention of the Syrian Songstresses
âChapter 60: Mention of the Umayyad Caliphs Who Sang
âChapter 61: Mention of the Ê¿AbbÄsid Caliphs Who Sang
âChapter 62: Mention of the Ê¿AbbÄsid Caliphsâ Sons Who Sang
âChapter 63: Mention of the Ê¿AbbÄsid Caliphsâ Daughters Who Sang
âChapter 64: Mention of the Viziers, Princes, and Their Sons Who Sang
âChapter 65: Mention of the Male and Female á¹unbÅ«r Players
âChapter 66: On the Proper Behavior to Praise Men and Women When They Reach a State of á¹Arab
âChapter 67: Mention of the One Hundred Chosen Songs
âChapter 68: The Permissibility of Singing
âChapter 69: The Qualities of a Skilled Singer
âChapter 70: Tools to Use to Test the Person Who Pretends to Know the Science of Music
âChapter 71: Bad Intonation among Men and Women
âChapter 72: Higher and Lower Octaves
âChapter 73: How to Choose Would-Be Singers [Girls and Boys] in Order to Teach Them Singing
âChapter 74: Behavior before Kings and Their Subjects
âChapter 75: Sayings and Poems of Praise about Male Singers and Songstresses in the Past
âChapter 76: Satirical Poems about Male Singers and Songstresses in Earlier Times
âChapter 77: Poems of Praise about Male Singers in Our Era
âChapter 78: Satirical Poems about Male Singers [and Songstresses] in Our Era
âChapter 79: The Compositional Output of Male Singers in Earlier Times
âChapter 80: Stories about Male Singers in Earlier Times and Their Pedigree
Part 2: The Practical Arts
âChapter 1: The Meaning of the Word Music
âChapter 2: The Inventor of the Lute and Differing Views about It
âChapter 3: The Dimensions of the Lute, Its Material, Construction, and Names of Its Various Parts
âChapter 4: The Frets, Their Names, Placements, Tying Them on the Finger Board, and Their Functions
âChapter 5: The Strings, Their Characters, Names, Choosing Them, and Stringing Them on the Lute
âChapter 6: The Names of Rhythmic Modes (á¹arÄ«qa), Their Types (jins), Their Cycles, and Number of Attacks
âChapter 7: The State of the Notes, Their Qualities, Quantities, Numbers, and Placements on the Strings of the Lute
âChapter 8: The Genuses of Notes Used at the Beginning of a Piece, and Types of Movements through the Frets
âChapter 9: The Rhythmic Modes in Use, [and the Playerâs] Motions and Required Matters
âChapter 10: The Best Person to Have Played the Persian Lute, and the Number of Persian Modes
âChapter 11: The Best Person to Have Played the Arabic Lute and to Have Sung Arabic Songs Accompanying Himself
âChapter 12: The Description of the Lute, Its Praise, Preferring It to All Other Instruments That Accompany Singing, What It Resembles, and Poems Composed about It
âChapter 13: The Reason for Setting the zÄ«r String at the Bottom, and the bamm at the Top
âChapter 14: Tuning and Detuning the Strings
âChapter 15: The Beautiful Techniques (mulaḥ) That Affect the Rhythms and Rhythmic Modes, Their Numbers and Types
âChapter 16: On Dance, Its Types and Names [Ibn al-ṬaḥḥÄnâs Passage Quoted by al-TÄ«fÄshÄ«]
âChapter 17: [On the] Disagreement between [IsḥÄq b.] IbrÄhÄ«m al-Mawá¹£ilÄ« and IbrÄhÄ«m b. al-MahdÄ« about the Rhythmic Modes
âChapter 18: The Definitions of al-surayjÄ«, al-mÄkhÅ«rÄ«, al-mujannab, and al-mukhÄlif
âChapter 19: The Definitions of al-khusruwÄnÄ«, al-á¹arkhÄnÄ«, al-ḥumayrÄ«, and khafÄ«f hazaj
âChapter 20: On Choosing the Proper Instrument to Fit Various Throats
âChapter 21: Mention of the á¹unbÅ«r, miÊ¿zafa, rabÄb, mizmÄr, á¹abl, urghun, qÄ«thÄra, sulyÄq, duff, á¹£alÄ«kh, and kankala
âChapter 22: On Which Particular Genuses of Modes Should be Used in Which Types of Melodies; Modes Used Plainly (sÄdhij) without Mixing (tamzÄ«j) and without Moving [from One to Another] are Unpleasant and Do Not Cause á¹arab
âAppendix: Ibn KhurdÄdhbihâs Passage Quoted by al-TÄ«fÄshÄ«. The Number of Types of Dances, Nations, and Regions That Created Them
Arabic-English Glossary
Chart
Bibliography
Index of People and Places
Index of Terms and Subjects
All interested in medieval Arabic music theory and practice, literature, compositions, musical forms, music education, vocal music, instruments, modal system, dance, lexicography, (institutes, academic libraries, students, graduate and post-graduate students).