{"product_id":"hawi-l-funun-wa-salwat-al-mahzun-encompasser-of-the-arts-and-consoler-of-the-grief-stricken-by-ibn-al-tahhan-annotated-translation-and-commentary-9789004465466","title":"Ḥāwī l-Funūn wa-Salwat al-Maḥzūn, Encompasser of the Arts and Consoler of the Grief-Stricken by Ibn al-Ṭaḥḥān: Annotated Translation and Commentary","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eḤāwī l-Funūn (Encompasser of the Arts) of Ibn al-Ṭaḥḥān (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, ṭarab; the importance of tonality; approaches to teaching; musical and extra-musical behavior at the court; names of Syrian Fatimid and Ishshīdid 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.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface  Acknowledgments  Abbreviations    Part 1: The Theoretical Arts   Introduction   Chapter 1: The Preference of Speech over Muteness   Chapter 2: The Gems of Philosophers’ Aphorisms   Chapter 3: On the Sophistication of Melodies   Chapter 4: The Meanings of Melodies   Chapter 5: Composing Melodies That Suit the Poems   Chapter 6: The Definition of Singing and Its Components   Chapter 7: The Definition of the Voice and Its Production   Chapter 8: Poetic and Musical Divisions   Chapter 9: The Origin of Arabic Singing   Chapter 10: Favoring Older Poetry over the Modern   Chapter 11: Favoring Older Singing over the Modern   Chapter 12: The Character, Effects, and Types of Melodies   Chapter 13: The Names of the First Male Singers in the Jāhiliyya   Chapter 14: The Names of the First Songstresses in the Jāhiliyya   Chapter 15: The Names of the First Male Singers in Early Islam   Chapter 16: The Names of the First Songstresses in Early Islam in addition to the Ones I Have Already Mentioned   Chapter 17: The Names of the Effeminates in Early Islam   Chapter 18: The First to Notate Songs   Chapter 19: The Grand, Medium, and Smaller Compositions   Chapter 20: Ṭarab and Its Causes   Chapter 21: The Tonalities in Singing, Their Arrangements and Types   Chapter 22: Vowels and Consonants   Chapter 23: Testing the Essences of the Voices   Chapter 24: Tricks Used to Bring Throats in Tune with the Strings   Chapter 25: The Names of Voices (ḥalq), Their Good and Bad Qualities   Chapter 26: Beautiful (mulaḥ) Vocal Music, Techniques, and Qualities   Chapter 27: Tricks Used in Stealing Songs and Precautions to Prevent This   Chapter 28: Food and Drinks That Are Beneficial to the Throats and Those That Are Not   Chapter 29: Locations That Are Beneficial for Voices and Improve Them, and Those That Diminish and Spoil Them   Chapter 30: The Ranks of Boon Companions and Singers   Chapter 31: Instruments That Overwhelm the Voices and Other Factors   Chapter 32: The Care of Throats in General, and before and after Puberty   Chapter 33: On Knowing the Reasons Musicians Get Off Rhythm   Chapter 34: Approaches to Teaching and How to Apply Them   Chapter 35: The Reasons for Poor Intonation and Its Characteristics   Chapter 36: Planning and Determining Where and How Much to Breathe   Chapter 37: Murāsala, mubāyana, and mumāthala   Chapter 38: Syncopation and Guidance to It   Chapter 39: Twittering and Its Derivation   Chapter 40: The Definition of tarkhīm   Chapter 41: Tarjīʿ and Its Characteristics   Chapter 42: Nashīds and Their Types   Chapter 43: What Stimulates the Singer To Be Active and What Makes Him Sluggish   Chapter 44: Opening Songs in the Company of Kings   Chapter 45: How to Arrange and Order the Songs in the majālis   Chapter 46: Good Qualities [to Have] While Singing   Chapter 47: Good and Bad Song Themes   Chapter 48: Who Are Better: The Singers of Persia, India, or Byzantium   Chapter 49: Mention of the Male Singers in the Umayyad Era   Chapter 50: Mention of the Songstresses in the Umayyad Era   Chapter 51: Mention of the Male Singers in the ʿAbbāsid Era   Chapter 52: Mention of the Songstresses in the ʿAbbāsid Era   Chapter 53: Mention of the Slave Singers and Songstresses in the ʿAbbāsid Era   Chapter 54: Mention of the Male Singers and Songstresses in the Ikhshīdid Era in Egypt   Chapter 55: Mention of the Male Singers in the ʿAlawid Era in Egypt   Chapter 56: Mention of the Songstresses in the ʿAlawid Era in Egypt   Chapter 57: Mention of the Male Slave Singers in the ʿAlawid Era in Egypt   Chapter 58: Mention of the Male Syrian Singers   Chapter 59: Mention of the Syrian Songstresses   Chapter 60: Mention of the Umayyad Caliphs Who Sang   Chapter 61: Mention of the ʿAbbāsid Caliphs Who Sang   Chapter 62: Mention of the ʿAbbāsid Caliphs’ Sons Who Sang   Chapter 63: Mention of the ʿAbbāsid Caliphs’ Daughters Who Sang   Chapter 64: Mention of the Viziers, Princes, and Their Sons Who Sang   Chapter 65: Mention of the Male and Female ṭunbūr Players   Chapter 66: On the Proper Behavior to Praise Men and Women When They Reach a State of ṭArab   Chapter 67: Mention of the One Hundred Chosen Songs   Chapter 68: The Permissibility of Singing   Chapter 69: The Qualities of a Skilled Singer   Chapter 70: Tools to Use to Test the Person Who Pretends to Know the Science of Music   Chapter 71: Bad Intonation among Men and Women   Chapter 72: Higher and Lower Octaves   Chapter 73: How to Choose Would-Be Singers [Girls and Boys] in Order to Teach Them Singing   Chapter 74: Behavior before Kings and Their Subjects   Chapter 75: Sayings and Poems of Praise about Male Singers and Songstresses in the Past   Chapter 76: Satirical Poems about Male Singers and Songstresses in Earlier Times   Chapter 77: Poems of Praise about Male Singers in Our Era   Chapter 78: Satirical Poems about Male Singers [and Songstresses] in Our Era   Chapter 79: The Compositional Output of Male Singers in Earlier Times   Chapter 80: Stories about Male Singers in Earlier Times and Their Pedigree    Part 2: The Practical Arts   Chapter 1: The Meaning of the Word Music   Chapter 2: The Inventor of the Lute and Differing Views about It   Chapter 3: The Dimensions of the Lute, Its Material, Construction, and Names of Its Various Parts   Chapter 4: The Frets, Their Names, Placements, Tying Them on the Finger Board, and Their Functions   Chapter 5: The Strings, Their Characters, Names, Choosing Them, and Stringing Them on the Lute   Chapter 6: The Names of Rhythmic Modes (ṭarīqa), Their Types (jins), Their Cycles, and Number of Attacks   Chapter 7: The State of the Notes, Their Qualities, Quantities, Numbers, and Placements on the Strings of the Lute   Chapter 8: The Genuses of Notes Used at the Beginning of a Piece, and Types of Movements through the Frets   Chapter 9: The Rhythmic Modes in Use, [and the Player’s] Motions and Required Matters   Chapter 10: The Best Person to Have Played the Persian Lute, and the Number of Persian Modes   Chapter 11: The Best Person to Have Played the Arabic Lute and to Have Sung Arabic Songs Accompanying Himself   Chapter 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   Chapter 13: The Reason for Setting the zīr String at the Bottom, and the bamm at the Top   Chapter 14: Tuning and Detuning the Strings   Chapter 15: The Beautiful Techniques (mulaḥ) That Affect the Rhythms and Rhythmic Modes, Their Numbers and Types   Chapter 16: On Dance, Its Types and Names [Ibn al-Ṭaḥḥān’s Passage Quoted by al-Tīfāshī]   Chapter 17: [On the] Disagreement between [Isḥāq b.] Ibrāhīm al-Mawṣilī and Ibrāhīm b. al-Mahdī about the Rhythmic Modes   Chapter 18: The Definitions of al-surayjī, al-mākhūrī, al-mujannab, and al-mukhālif   Chapter 19: The Definitions of al-khusruwānī, al-ṭarkhānī, al-ḥumayrī, and khafīf hazaj   Chapter 20: On Choosing the Proper Instrument to Fit Various Throats   Chapter 21: Mention of the ṭunbūr, miʿzafa, rabāb, mizmār, ṭabl, urghun, qīthāra, sulyāq, duff, ṣalīkh, and kankala   Chapter 22: On Which Particular Genuses of Modes Should be Used in Which Types of Melodies; Modes Used Plainly (sādhij) without Mixing (tamzīj) and without Moving [from One to Another] are Unpleasant and Do Not Cause ṭarab   Appendix: Ibn Khurdādhbih’s Passage Quoted by al-Tīfāshī. 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","brand":"Brill","offers":[{"title":"Default Title","offer_id":53210824868183,"sku":"9789004465466","price":152.0,"currency_code":"GBP","in_stock":false}],"url":"https:\/\/bookcurl.com\/products\/hawi-l-funun-wa-salwat-al-mahzun-encompasser-of-the-arts-and-consoler-of-the-grief-stricken-by-ibn-al-tahhan-annotated-translation-and-commentary-9789004465466","provider":"Book Curl","version":"1.0","type":"link"}