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Armenia, Caucaso e Asia Centrale

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La musica d’arte (maqom) tra Herat, Bukhara e Kashgar

Giovanni De Zorzi    Università Ca’ Foscari Venezia, Italia    

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abstract

Central Asian Art music (maqom) transcends nowadays national borders and belongs to a larger musical area where Art music was (and still is) called maqām. After a discussion on the many meanings of such a term and on the theoretical works of the so called first Arab-Islamic musicology, the present paper moves to the key figure of systematist musicologist and composer ‘Abd ul-Qādir ibn Ghaybi Marāghī (1360?-1435), who lived part of his life in Herat: from there, through disciples and sons his work, he influenced maqām concept and practice both in the West, in the Ottoman lands, and in the East. In particular, from the 16th century, a musical tradition called Shash Maqom – which arrived to Uyghur’s six town oasis (altıshahr), where the musical tradition called On Ikki Muqam grew – flourished in the Uzbek/Tajik region once called by Greeks Transoxiana, between the cultural centres of Bukhara and Samarkand.

Pubblicato
17 Ottobre 2019
Accettato
03 Luglio 2019
Presentato
19 Marzo 2019
Lingua
IT
ISBN (PRINT)
978-88-6969-341-0
ISBN (EBOOK)
978-88-6969-340-3

Keywords: Central Asian Art Music • Baghdad • Khiva • al-Fārābī • Kashgar • Timurid Culture Bukhara • Herat • al-Kindī • ‘ibn-Sinā • Safī al-Dīn • Maqām • Arab Islamic Art Music • Abd ul-Qādir ibn Ghaybi Marāghī • Samarkand • On Ikki Muqam • Shash Maqom

permalink: http://doi.org/10.30687/978-88-6969-340-3/011

Copyright: © 2019 Giovanni De Zorzi. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.