Pub Date : 2023-11-14DOI: 10.1163/18778372-12340030
Salah Eddin Maraqa
This article deals with the life and music-theoretical writings of the Damascene scholar Muḥammad al-ʿAṭṭār (1764–1828). The re-identification of a small treatise on music theory entitled Nubḏa mina l-mūsīqī as the latter’s Risāla that was mentioned and quoted by his student Mīḫāʾīl Mušāqa (1800–88) and the detailed analysis of it and his Rannat al-awtār led to a reconsideration of the emergence of the commonly called “modern” Arabic music theory, and to a reassessment of the role of al-ʿAṭṭār and Mušāqa in the establishment of the 24-tone equal temperament. A critical edition of the Nubḏa is attached to the article.
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Pub Date : 2023-10-04DOI: 10.1163/18778372-12340031
Khaled El-Rouayheb
Abstract The present article explores the motivations that led Jalāl al-Dīn al-Dawānī (d. 1502) to draw the distinction between what he called “primary predication” ( ḥaml awwalī ) and “familiar predication” ( ḥaml mutaʿāraf or ḥaml shāʾiʿ ). These motivations include allowing for the predication of particulars, such as “This is Zayd” and accounting for apparently true self-negations, such as “The [concept] particular is not a particular.” The article also explores some criticisms of this distinction by Dawānī’s contemporary and rival Ṣadr al-Dīn al-Dashtakī (d. 1498). Despite these criticisms, Dawānī’s distinction was adopted, adapted, and emphasized by the Safavid scholar Mīr Dāmād (d. 1631). Mīr Dāmād’s influence, in turn, accounts for the prominence given to the distinction in later centuries among Iranian and Indo-Muslim logicians.
本文探讨了导致Jalāl al- d n al-Dawānī (d. 1502)区分他所谓的“初级预测”(ḥaml awwali)和“熟悉预测”(ḥaml muta ā āraf或ḥaml shahu ā i ā)的动机。这些动机包括允许对细节的预测，比如“这是Zayd”，以及对明显真实的自我否定的解释，比如“特定的(概念)不是特定的”。文章还探讨了Dawānī的同时代和竞争对手Ṣadr al- d n al- dashtaki (d. 1498)对这种区别的一些批评。尽管存在这些批评，Dawānī的区别还是被萨法维学者mr Dāmād(1631年左右)采纳、调整和强调。反过来，在后来的几个世纪里，伊朗逻辑学家和印度-穆斯林逻辑学家之间的区别受到了突出的影响。
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Pub Date : 2023-07-26DOI: 10.1163/18778372-12340028
Yasemin Gökpınar
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Pub Date : 2023-07-26DOI: 10.1163/18778372-12340029
Ralf Martin Jäger
Traditional art music in the Ottoman Empire was essentially shaped by phenomena of transculturality. It can be assumed that dynamic cultural transfer processes took place between the cultural groups involved, including Armenians, Greeks, Jews, and Arabs, in addition to Turks, and that these processes are visible today through circumstantial evidence. Each cultural group has an individual-specific music-theoretical, as well as music-historical background, so that the cultural intersection of Ottoman art music is considered from different perspectives. Using Greek sources from the 18th and 19th centuries as examples, this contribution is devoted to the phenomenon of cultural translation that accompanies the transfer processes. The central question is whether and in what form the detailed information given on the pitch system can contribute to a better understanding of Ottoman music theory in the nineteenth century, and how it can be made useful for the critical edition of music practical sources from the period.
{"title":"Notation Methods and Reference Systems: On the Phenomenon of Cultural Translation in the Eastern Mediterranean","authors":"Ralf Martin Jäger","doi":"10.1163/18778372-12340029","DOIUrl":"https://doi.org/10.1163/18778372-12340029","url":null,"abstract":"\u0000Traditional art music in the Ottoman Empire was essentially shaped by phenomena of transculturality. It can be assumed that dynamic cultural transfer processes took place between the cultural groups involved, including Armenians, Greeks, Jews, and Arabs, in addition to Turks, and that these processes are visible today through circumstantial evidence.\u0000Each cultural group has an individual-specific music-theoretical, as well as music-historical background, so that the cultural intersection of Ottoman art music is considered from different perspectives. Using Greek sources from the 18th and 19th centuries as examples, this contribution is devoted to the phenomenon of cultural translation that accompanies the transfer processes. The central question is whether and in what form the detailed information given on the pitch system can contribute to a better understanding of Ottoman music theory in the nineteenth century, and how it can be made useful for the critical edition of music practical sources from the period.","PeriodicalId":43744,"journal":{"name":"Oriens","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41557830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1163/18778372-12340027
Zachary Candy
This paper argues that both Aristotle’s theory of the so-called focal homonymy of “being” and Avicenna’s corresponding theory of the ambiguity of “existence” (tashkīk al-wujūd) are meant to address the same dilemma of categorial ontology, but by recourse to different solutions. Avicenna retains Aristotle’s concerns but rejects his solution of focal homonymy, offering a new theory which more satisfactorily addresses each horn of the dilemma. This reading departs from prior scholarship, which, taking Avicenna to have adopted the focal theory basically intact from his Late Antique predecessors, instead tends to privilege the theory’s (peripheral) theological applications.
本文认为，亚里士多德的所谓“存在”的焦点同一性理论和阿维森纳相应的“存在”的模糊性理论(tashk k al-wujūd)都是为了解决同样的范畴本体论困境，但求助于不同的解决方案。阿维森纳保留了亚里士多德的关注，但拒绝了他的焦点同音的解决方案，提供了一个新的理论，更令人满意地解决了每个角的困境。这种解读偏离了先前的学术研究，认为阿维森纳采用了焦点理论，基本上完好无损地从他的晚期古代前辈那里得到，相反，倾向于特权理论的(外围)神学应用。
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Pub Date : 2023-06-27DOI: 10.1163/18778372-12340026
F. Zamboni
The Avicennian distinction between quiddity and existence opens the way to several derivative issues concerning the quiddity of existence (what existence is) and the ontological status of existence (whether and how existence is). This paper presents a fine-grained account of the positions and arguments developed by post-Avicennian authors on these matters, showing how the debates on states (aḥwāl) and grounding (taʿlīl) feed into the picture. The discussions on the quiddity of existence revolve around the features of its knowability and its connection to a ground (ʿilla), or lack thereof. As for the ontological status of existence, the standard idea of a clash between realism (existence is an extramental existent) and conceptualism (existence is a purely mental existent) calls for further refinement. First, realism itself encompasses two distinct positions when it comes to the relation between the second-order existence of existence and existence itself (sameness, additionality). Second, the tradition presents other doctrines not easily classifiable within the realism-conceptualism framework (the existential non-assertability of existence, the non-existence of existence).
阿维森纳对本质和存在的区分，为存在的本质(存在是什么)和存在的本体论地位(存在是否存在以及如何存在)的几个衍生问题开辟了道路。本文对后阿维森纳作家在这些问题上的立场和论点进行了细致的描述，展示了关于状态(aḥwāl)和基础(ta al āl)的辩论是如何进入画面的。关于存在的本质性的讨论围绕着存在的可知性特征及其与根据的联系(或缺乏联系)展开。关于存在的本体论地位，实在论(存在是一种外在的存在)和概念论(存在是一种纯粹精神的存在)之间的冲突的标准观念需要进一步完善。首先，当涉及到存在的二阶存在和存在本身(同一性，附加性)之间的关系时，现实主义本身包含两个不同的立场。其次，传统提出了其他难以在现实主义-概念主义框架内分类的学说(存在的存在不可断言性，存在的不存在性)。
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Pub Date : 2023-06-01DOI: 10.1163/18778372-12340025
Osama Eshera
The debates on Kulliyyāt I.1.ii of Ibn Sīnā’s Qānūn (“on the subjects of medicine”) were initiated by Faḫr al-Dīn al-Rāzī and continued by Afḍal al-Dīn al-Ḫūnaǧī, Naǧm al-Dīn al-Naḫǧawānī, Yaʿqūb ibn Ġanāʾim al-Sāmirī, Rafīʿ al-Dīn al-Ǧīlī, Ibn al-Nafīs, and Ibn al-Quff al-Masīḥī. In his own commentary, entitled al-Tuḥfa al-saʿdiyya, Quṭb al-Dīn al-Šīrāzī preserved and scrutinized his predecessors’ commentaries, in order to offer what he believed to be more conclusive interpretations of Ibn Sīnā. Focusing on the introductory part of Kulliyyāt I.1.ii, we show that the commentators were divided not only on philosophical issues, but also on the very text that should be attributed to Ibn Sīnā.
1.关于Kulliyyāt的辩论。二世伊本年代īān S Qānūn(“医学学科”)是由足总ḫr al-Dīn al-Rāzī和持续Afḍal al-Dīn al -Ḫūnaǧī,naǧm al-Dīn al-Naḫǧawānī,丫ʿ问ūb伊本Ġāʾim地基ā米尔īRafīʿal-Dīn al -Ǧīlī,伊本al-Nafī年代,和伊本al-Quff al-Masīḥī。在他自己的题为al-Tuḥfa al-sa al- diyya的注释中，Quṭb al- d n al-Šīrāzī保存并仔细审查了他的前辈的注释，以便提供他认为对伊本s - nā更结论性的解释。重点介绍Kulliyyāt I.1的介绍部分。ii，我们表明，评论员不仅在哲学问题上存在分歧，而且在应该归因于伊本·桑努伊的文本上也存在分歧。
{"title":"Philosophical and Philological Debates on Kulliyyāt I.1.ii of Ibn Sīnā’s Qānūn: From Faḫr al-Dīn al-Rāzī to Quṭb al-Dīn al-Šīrāzī","authors":"Osama Eshera","doi":"10.1163/18778372-12340025","DOIUrl":"https://doi.org/10.1163/18778372-12340025","url":null,"abstract":"\u0000The debates on Kulliyyāt I.1.ii of Ibn Sīnā’s Qānūn (“on the subjects of medicine”) were initiated by Faḫr al-Dīn al-Rāzī and continued by Afḍal al-Dīn al-Ḫūnaǧī, Naǧm al-Dīn al-Naḫǧawānī, Yaʿqūb ibn Ġanāʾim al-Sāmirī, Rafīʿ al-Dīn al-Ǧīlī, Ibn al-Nafīs, and Ibn al-Quff al-Masīḥī. In his own commentary, entitled al-Tuḥfa al-saʿdiyya, Quṭb al-Dīn al-Šīrāzī preserved and scrutinized his predecessors’ commentaries, in order to offer what he believed to be more conclusive interpretations of Ibn Sīnā. Focusing on the introductory part of Kulliyyāt I.1.ii, we show that the commentators were divided not only on philosophical issues, but also on the very text that should be attributed to Ibn Sīnā.","PeriodicalId":43744,"journal":{"name":"Oriens","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43942339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1163/18778372-12340021
D. Reynolds
The 13th-century Tunisian author Aḥmad at-Tīfāšī describes in his work Mutʿat al-asmāʿ fī ʿilm as-samāʿ a system of melodic modes used in al-Andalus. This essay represents a preliminary attempt to situate at-Tīfāšī’s Andalusi modes within the broader historical development of medieval Arab modal systems and to explore their relationship to the modern modes of North Africa commonly referred to as Andalusi. This is, however, primarily an exploration of terminology or nomenclature rather than of the melodic characteristics of the modes themselves, since the sources examined here give little to no information about the internal features of the individual modes.
{"title":"The Musical Modes of al-Andalus","authors":"D. Reynolds","doi":"10.1163/18778372-12340021","DOIUrl":"https://doi.org/10.1163/18778372-12340021","url":null,"abstract":"\u0000The 13th-century Tunisian author Aḥmad at-Tīfāšī describes in his work Mutʿat al-asmāʿ fī ʿilm as-samāʿ a system of melodic modes used in al-Andalus. This essay represents a preliminary attempt to situate at-Tīfāšī’s Andalusi modes within the broader historical development of medieval Arab modal systems and to explore their relationship to the modern modes of North Africa commonly referred to as Andalusi. This is, however, primarily an exploration of terminology or nomenclature rather than of the melodic characteristics of the modes themselves, since the sources examined here give little to no information about the internal features of the individual modes.","PeriodicalId":43744,"journal":{"name":"Oriens","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44641229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-25DOI: 10.1163/18778372-12340024
J. Olley
This article traces the historical and intellectual origins of modern Turkish music theory in the late Ottoman period. It examines debates about music theory in the Ottoman Turkish press during the 1880s and 1890s, focusing particularly on the earliest publications of Raʾūf Yektā (1288–1353/1871–1935). The article shows how the modern Turkish theory of pitch was created by Yektā and his collaborators through the rediscovery of Arabic and Persian treatises associated with the Systematist school of mathematical music theory, which flourished between the seventh/thirteenth and ninth/fifteenth centuries. It argues that this project to bring Ottoman music into the modern “age of progress” was shaped by the ideals of both scientific positivism and Islamic modernism.
{"title":"Measuring Progress: The Ottoman Revival of Systematist Music Theory, c.1900","authors":"J. Olley","doi":"10.1163/18778372-12340024","DOIUrl":"https://doi.org/10.1163/18778372-12340024","url":null,"abstract":"\u0000This article traces the historical and intellectual origins of modern Turkish music theory in the late Ottoman period. It examines debates about music theory in the Ottoman Turkish press during the 1880s and 1890s, focusing particularly on the earliest publications of Raʾūf Yektā (1288–1353/1871–1935). The article shows how the modern Turkish theory of pitch was created by Yektā and his collaborators through the rediscovery of Arabic and Persian treatises associated with the Systematist school of mathematical music theory, which flourished between the seventh/thirteenth and ninth/fifteenth centuries. It argues that this project to bring Ottoman music into the modern “age of progress” was shaped by the ideals of both scientific positivism and Islamic modernism.","PeriodicalId":43744,"journal":{"name":"Oriens","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46325759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-14DOI: 10.1163/18778372-12340023
Alison Laywine
Al-Fārābī conceived of music theory as a universal science of melody whose task is to determine the whole range of what is musically possible. It does not restrict itself to codifying the conventions of any particular musical idiom. In this, it is akin to logic – the universal science of all things thinkable, which does not reduce to the grammar of any given natural language.
{"title":"Al-Fārābī’s Conception of Music Theory as the Universal Science of Melody","authors":"Alison Laywine","doi":"10.1163/18778372-12340023","DOIUrl":"https://doi.org/10.1163/18778372-12340023","url":null,"abstract":"\u0000Al-Fārābī conceived of music theory as a universal science of melody whose task is to determine the whole range of what is musically possible. It does not restrict itself to codifying the conventions of any particular musical idiom. In this, it is akin to logic – the universal science of all things thinkable, which does not reduce to the grammar of any given natural language.","PeriodicalId":43744,"journal":{"name":"Oriens","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45578656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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