The musical heritage of Al-Andalus [Elektronische Ressource

The Musical Heritage of Al-Andalus is a critical account of the history of Andalusian music in Iberia from the Islamic conquest of 711 to the final expulsion of the Moriscos (Spanish Muslims converted to Christianity) in the early 17th century. This volume presents the documentation that has come down to us, accompanied by critical and detailed analyses of the sources written in Arabic, Old Catalan, Castilian, Hebrew, and Latin. It 1s also informed by research the author has conducted on modern Andalusian musical traditions in Morocco, Algeria, Tunisia, Egypt, Lebanon, and Syria. While the cultural achievements of medieval Muslim Spain have been the topic of a large number of scholarly and popular publications in recent decades, what may arguably be its most enduring contribution — music — has been almost entirely neglected. The overarching purpose of this work 1s to elucidate as clearly as possible the many different types of musical interactions that took place in medieval Iberia and the complexity of the various borrowings, adaptations, hybridizations, and appropriations involved. Dwight F. Reynolds is Professor of Arabic Language and Literature at the University of California, Santa Barbara, and author of numerous publications, including the co-editorship of the award-winning, The Garland Encyclopedia of World Music, Volume 6: The Middle East, published in 2002, with Virginia Danielson and Scott Marcus. Cover 1 Half Title 4 Imprint 5 Contents 8 List of illustrations 11 Acknowledgments 12 Introduction 16 SECTION ONE Music in Iberia and the Mashriq up to 711 26 1 Music in Iberia to 711 32 Jewish communities in Iberia 36 2 Arab music to 711 39 The Great Book of Songs 41 Arab music before Islam 44 Musicians in the early Islamic period 48 Patronage 50 Conclusion 52 SECTION TWO Andalusi music to the fall of the Umayyad Caliphate, 711-1031 58 3 From the conquest to the reign of ‘Abd al-Rahman II, 711-822 60 Music in the household of al-Mughira 69 4 ‘Abd al-Rahman Il and Ziryab, 822-852 74 Ziryab in the court of ‘Abd al- Rahman IT 77 Ziryab: the early sources 77 Rivalries in the court 82 Eastern echoes 86 The emergence of the legend 88 The author of Kitab Akhbar Ziryab 90 The final transformation: al-Maqgqarí 92 Ziryab’s musical legacy 95 An aggregate summary 96 5 The final years of the Caliphate, 858-1031 101 SECTION THREE Music in the medieval Mediterranean 116 “Mutual intelligibility” 116 6 Instrumentarium 120 The Arab lute 121 Bowed string instruments 125 Musical instruments of al-Andalus 131 Other instruments of al-Andalus 136 7 Music theory and performance practices 142 Music as mathematics 142 The music of the spheres 144 Melodic modes 144 The effect of modes 146 Music theory in al-Andalus 147 Rhythm 153 Performance practices 154 Summary: musical mutual intelligibility 156 SECTION FOUR The musical revolution in al-Andalus 162 8 From sawt to muwashshah 164 The musical structure of the medieval sawt 164 The muwashshah/zajal song-form 171 The kharja 175 Muwashshah versus zajal 176 The musical structure of the medieval muwashshah 178 Ibn Sana’ al-Mulk and Dar al-Tiraz 178 9 Hebrew muwashshahat 194 Conclusion 199 SECTION FIVE Post-Umayyad Iberia (11th-17th c.) 204 10 The era of the “petty kings,” Almoravids, and Almohads (11th-12th c.) 206 Qiyan as captives and gifts 213 Dance and puppetry 218 Music among the elite 219 Al-Tifashi's description of Andalusi song 220 11 The “Age of Minstrels” (13th-15th c.) 228 Las Cantigas de Santa María 229 Andalusi musicians in Christian courts 231 Church and municipal musicians 236 12 Music of the Moriscos (16th—17th c.) 241 The final expulsions 246 Epilogue 248 Bibliography 251 Index 270 The Musical Heritage of Al-Andalus is a critical account of the history of Andalusian music in Iberia from the Islamic conquest of 711 to the final expulsion of the Moriscos (Spanish Muslims converted to Christianity) in the early 17th century. This volume presents the documentation that has come down to us, accompanied by critical and detailed analyses of the sources written in Arabic, Old Catalan, Castilian, Hebrew, and Latin. It is also informed by research the author has conducted on modern Andalusian musical traditions in Morocco, Algeria, Tunisia, Egypt, Lebanon and Syria. While the cultural achievements of medieval Muslim Spain have been the topic of a large number of scholarly and popular publications in recent decades, what may arguably be its most enduring contribution -- music -- has been almost entirely neglected. The overarching purpose of this work is to elucidate as clearly as possible the many different types of musical interactions that took place in medieval Iberia and the complexity of the various borrowings, adaptations, hybridizations, and appropriations involved.-- Provided by publisher