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Published online by Cambridge University Press: 15 March 2011
Jules Rouanet, the well-known writer on the music of the Maghrib, lamented not long ago that none of the mediaeval treatises of the Western Arabian musical system had survived. This he said, was all the more regrettable because to-day not a solitary practitioner in the Maghrib had the slightest acquaintance with musical theory. The ṭubū' or modes were confused in the various parts of the country. The ṭab' known in Algiers as mazmūm is called dīl in Tlemcen, whilst the mazmūm of Tlemcen is the dīl or māya of Algiers.
page 379 note 1 Lavignac, , Encyclopédie de la musique, v, 2914Google Scholar.
page 379 note 2 Ibid., v, 2920.
page 379 note 3 Ibid., v, 2918.
page 379 note 4 Guin, Delphin et, Notes sur la poe'sie et la musique arabes, 63Google Scholar. Le monde oriental (1906), 215.
page 380 note 1 For the various musical applications of the term ṭab', see the Vocabulista aravigo of Pedro de Alcalá (Granada, 1505) sub “Musica”, “Tono”, “Canto”, “Diapason”.
page 380 note 2 Brit. Museum MS., Or. 1535. Schiaparelli, Voc. in Arabico. See my Historical Facts for the Arabian Musical Influence, p. 238.
page 380 note 3 Muḥammad, Darwish, Ṣafā' al-awqāt, 6Google Scholar. al-Khula'ī, Muḥammad Kāmil, Nail al-amānī, 8Google Scholar. With the Greeks of old the term τονος stood for both “tone” and “mode”.
page 380 note 4 pp. 61–3.
page 380 note 5 p. 2859.
page 380 note 6 The inclusion of the modes ṣīka and jārka by these writers was clearly a blunder. These were adopted much later in the Maghrib, evidently under Egyptian or Turkish influence. They were borrowed from the Eastern Perso-Arabian modes sīka and jahārka.
page 380 note 7 Unfortunately in my History of Arabian Music (p. 204), when enumerating the twelve maqāmāt of the Eastern Arabian system, I have omitted the mode iṣfahān.
pagr 381 note 1 Kosegarten, , Lib. cant., 85Google Scholar.
page 381 note 2 Al-Mas'ūdī, , Prairies d'or, viii, 99Google Scholar.
page 381 note 3 Brit. Museum MS., Or. 2361, fol. 201v.
page 382 note 1 Vaux, Carra de, Le traité des rapports musicaux, 62Google Scholar.
page 382 note 2 Bodleian MS., Ouseley, 117, 7v.
pageg 382 note 3 Brit. Museum MS. Add. 7694.
page 382 note 4 Bodleian MS. Marsh 828.
page 382 note 5 Höst, , Nachrichten von Marokos und Fes (1787), 258Google Scholar.
page 382 note 6 Christianowitsch, , Esquisse historique de la musique arabe (1863), 7Google Scholar.
page 382 note 7 Yāfīl, , Majmū' al-aghānī wa'l-alḥān (1904), 1Google Scholar; Rouanet, Yāfīl et, Répertoire de musique arabe et maure (1904), No. 8Google Scholar.
page 382 note 8 Brit. Museum MS., Or. 7007.
page 382 note 9 Salvador-Daniel, , La musique arabe (1863)Google Scholar.
page 382 note 10 Journal Asiatique (1865), 563.
page 382 note 11 Dozy, Suppl. dict, arabes, s.v.
page 382 note 12 Archiv.für Musikwissenschaft (1923), Heft ii, 143.
page 382 note 13 See text, p. 11.
page 382 note 14 s.v. “cuerda”.
page 383 note 1 Salvador-Daniel, , La musique arabe (1863)Google Scholar.
page 383 note 2 Journal Asiatique (1865), 563.
page 383 note 3 Lachmann, , Musik des Orients (1929), 125Google Scholar; Archiv für Musikwissenschaft (1923), 143.
page 383 note 4 p. 942. My argument here in favour of dīl rather than dhīl cannot now be sustained.
pageg 383 note 5 Delphin et Guin, op. cit., 62, where it is written asbīhān (
).
page 383 note 6 Lavignac, op. cit., v. 2942.
page 383 note 7 Zarfakand appears in the Muḥīt al-muḥit (1869–70).
page 383 note 8 Mélanges de la Faculté Orientale, vi, 94.
page 383 note 9 Brit. Museum MS., Or. 1535, fol. 74v.
page 383 note 10 See my article “Nauba” in the Encyclopœdia of Islām.
page 384 note 1 La monde oriental (1906), 215. Al-Ḥā'ik probably received this name because he was “a weaver of melodies”.
pageg 384 note 2 The five vocal movements are: —the maṣdar or muṣaddar, the baṭaiḥ, the darj, the inṣirāf, and the khalāṣ or mukhlaṣ.
page 384 note 3 The two instrumental movements are:—the mustakhbir and taushīḥa or tūshiyya.
page 384 note 4 Delphin et Guin, op. cit., 61; Lavignac, op. cit., v, 2877; Höst, op. cit., 258.
page 385 note 1 Cents are hundredths of an equal semitone. See Helmholtz, , Sensations of Tone, 3rd Engl. ed. (1895), p. 446Google Scholar.
page 385 note 2 All four fingers (sabbāba, wusṭā, binṣir, and khinṣir) were used by the Mediaeval Eastern Arabic writers on music. See Lavignac, , Ency. de la musique, v, 2927Google Scholar, on the use of the wusṭā in the Maghrib to-day.
page 385 note 3 Rouanet, , Ency. de la musique, v, 2927Google Scholar.
page 386 note 1 The lute accordatura attributed to the Ikhwān al-Ṣafā' by Fleischer, Oskar (Vierteljahrsschrift für Musikwissenschaft, ii, 35, 37) is incorrectGoogle Scholar.
page 386 note 2 Ibn Sīda.
page 387 note 1 Aghānī, i, 98.
page 387 note 2 Aghānī, iii, 84.
page 387 note 3 Or. 2361, fol. 236 v.
page 387 note 4 Gerbert, , Script, eccles. de musica . . . (1784), i, 118Google Scholar.
page 387 note 5 Ibid., i, 96.
page 387 note 6 Ibid., i, 318.
page 387 note 7 See my Historical Facts. . ., pp. 153–61, on “The Minstrel Class in the Middle Ages”.
Page 387 note 8 Brit. Museum MS., Or. 2361, 162v. See El-Hefni, Lachmann und, Ja'qūb Ibn Isḥāg al-Kindī (Leipsic, 1931), 29Google Scholar.
page 388 note 1 See JRAS. (1931), p. 350.
page 388 note 2 In an alphabetic notation, letters represent definite notes, whereas in a tablature the same letter may representseveral notes according to the particular string on which it is placed. For instance, the letter “A” will have the constant value of the note “A” in an alphabetic notation, but in a tablature the letter“A” may stand for the first fret note of all the strings of the lute.
page 388 note 3 Morphy says (p. xvii): “Elle [la tablature] est probablement d'origine orientale et l'on peut supposer qu'elle a été inventée chez les pcuples qui, depuis tant de siècles, ont connu et practiqué ce genre d'instruments; mais, faute de preuves, je ne saurais l'affirmer, et je me mets prudemment en garde contre la fantasie plus ou moins vraisemble des hypothèses.”
page 388 note 4 Gevaert says (p. xi): “De bonne heure les Castillans et les Aragonais (pour ne pas parler des Andalous), en contact fréquent avec les Maures, ont dû s'initier à l'usage de l'ūd et apprendre à y exécuter leurs propres chants nationaux. Plus tard, parvenus à une culture musicale plus avancée, les instrumentistes chrétiens auront élaboré leur tablature à l'imitation de celle des Musulmans . . .”
page 389 note 1 I have given the text, together with a translation, in my Historical Facts for the Arabian Musical Influence, pp. 99–101.
page 389 note 2 The French school used the letters of the alphabet whilst the Italian school used the numerals. The Arabic alphabet in the abjad series as used in lute notation and tablature also has a numerical value. See also de la Laurencie, L., Les Luthistes (Paris, 1928), p. 19Google Scholar .