İbn Zeyle, Safiyyüddin Urmevi, Dede Efendi (Musician)

The Muslims used notation as early as the ninth century at the time of Al-Ma'mun (d.833) and Ishaq Al-Mausili (d.850). We find it in the works of Al-Kindi (d.874), Yahia Ibn Ali Ibn Yahia (d.912), Al-Farabi (870-950), Ibn Sina (d.1037), Al-Hussain ibn Zaila (d.1048) and many others. We find Dominucus Gundissalinus (d.1151) used Arabic texts for his musical definitions. The Count Souabe Hermanus of Reichenau was particularly interested in the works of Al-Kindi and his musical theory and system of notation. The musical works of both Avicenna and Averoes were also influential on European music (as were their works in medicine) particularly in Provence[4] and Montpellier[5]. The works of Al-Farabi were influential on European musical theorists as recent as the eighteenth century, teaching le rapport 5/4 (major tierce) and 6/5 (minor tierce)

Asian Journal of Social Science, 2007

rast müzikoloji dergisi, 2019

Procedia - Social and Behavioral Sciences, 2015

“The Islamic Musical Sciences and the Andalusian Connection: Juan Andrés’ «Letter on Arabic Music» (1785)”, Journal of Usuluddin, 2021, vol. 49, num. 1, pp. 151-182. [DOI: https://doi.org/10.22452/usuluddin.vol49no1.6] Abstract: Music was an essential part of the philosophical knowledge in the classical antiquity and then in the medieval era. Music provided tools to foster a global speculative knowledge, and the classical Islamic thought developed different musical sciences. This paper tries to describe the different approaches to the musical phenomenon from an Islamic perspective, and the feasible transmission of this knowledge to Western music via al-Andalus. In doing so, the paper places attention in the Italian «Letter on Arabic Music» written by the Spanish Jesuit Juan Andrés in 1785, one of the first documents attesting this connection.

Revue des Traditions Musicales des Mondes Arabe et Méditerranéen no. 10 : Mélanges offerts à Jean During. Paris: Éditions Geuthner, 2016

This study examines the musicians and musical life of 15th-16th Central Asia, and includes a full translation, facsimile, and analysis of a 19th century musical treatise entitled Tawārīkh-i Mūsīqīyūn, or the “Histories of Musicians”. The treatise was written in Chaghatai by Mullā Ismatullah Mojizī in the Central Asian city of Khotan in 1854, and is a biographical genealogy of Central Asian musicians that lived and worked in Herat, Khotan, and Yarkand during the 15th and 16th centuries. The analysis of this treatise draws on many historical sources in order to present a detailed background and overview of the creative musical atmosphere that surrounded the courts of the last Timurid ruler of Herat, Husayn Bāyqarā, and the 16th century ruler of the Yarkand Khanate, Abdurashid Khan.

Michal Biran, 2016. "Music in the Conquest of Baghdad: Safi al-Din Urmawi and the Ilkhanid Circle of Musicians," in Bruno De Nicola and Charles Melville, eds. The Mongols' Middle East: Continuity and Transformation in Ilkhanid Iran. Leiden: Brill, 131-154.

Jewish Musicians in the Lands of Islam, Tapasam: A Quarterly Journal of Kerala Studies 1/3 (2006), 596-609., 2006