Series | Eurasian Studies
Edited book | Armenia, Caucasus, and Central Asia
Chapter | La musica d’arte (maqom) tra Herat, Bukhara e Kashgar
La musica d’arte (maqom) tra Herat, Bukhara e Kashgar
- Giovanni De Zorzi - Università Ca’ Foscari Venezia, Italia - email orcid profile
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.
Submitted: March 19, 2019 | Accepted: July 3, 2019 | Published Oct. 17, 2019 | Language: it
Keywords Baghdad • ‘ibn-Sinā • Maqām • Samarkand • Herat • Arab Islamic Art Music • Kashgar • Khiva • Central Asian Art Music • Shash Maqom • al-Fārābī • al-Kindī • Safī al-Dīn • Abd ul-Qādir ibn Ghaybi Marāghī • Timurid Culture Bukhara • On Ikki Muqam
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.
Permalink http://doi.org/10.30687/978-88-6969-340-3/011
Introduction
- Introduzione
- Aldo Ferrari, Elena Rova
- Oct. 17, 2019
Chapters
- Usi funerari nel Caucaso Meridionale nell'Età del Bronzo Antico: il caso di Shida Kartli (Georgia)
- Elena Rova
- Oct. 17, 2019
-
La morte dell’Eroe
Simboli di potere aristocratico dal Caucaso all’Egeo nell’Età del Bronzo - Vittoria Dall'Armellina
- Oct. 17, 2019
-
Focolari e installazioni da fuoco nell'archeologia del Caucaso meridionale
Potenzialità di una classe di materiali solitamente trascurata - Marta Aquilano, Katia Gavagnin, Livia Gervasi
- Oct. 17, 2019
-
Ossidiana e selce nel Caucaso Meridionale
Il caso di Aradetis Orgora - Flavia Amato
- Oct. 17, 2019
-
Uno sguardo a Nord-Est
La Turchia Orientale e il Caucaso Meridionale nel Bronzo Tardo - Francesco Bianchi
- Oct. 17, 2019
-
Ai confini della Sogdiana
I bacini dell’alto Zaravšan e dello Yaghnob nell’VIII secolo - Paolo Ognibene
- Oct. 17, 2019
- Khan uiguri del regno di Qočo (850-1250) nelle fonti di Turfan
- Andrea Piras
- Oct. 17, 2019
-
ʿAlidi in marcia lungo la via per la Cina
Le prime comunità islamiche cinesi riflesse in una leggenda del medioevo persiano - Francesco Calzolaio
- Oct. 17, 2019
- Osservazioni testuali e cartografiche sui settori centrasiatici della Mappa a Cuore turco-veneta di Cagi Acmet
- Giampiero Bellingeri
- Oct. 17, 2019
-
Modello di tutto il mondo tracciato a perfezione
L’Asia interna nella carta a forma di cuore detta di Cagi Acmet - Marica Milanesi
- Oct. 17, 2019
- La musica d’arte (maqom) tra Herat, Bukhara e Kashgar
- Giovanni De Zorzi
- Oct. 17, 2019
- Sayat Nova: tra le pause di quiete e le crisi di una creazione
- Giampiero Bellingeri
- Oct. 17, 2019
-
«Il cuore del nostro popolo è il mio campo arato»
Tre poesie in lingua osseta di Kosta Chetagurov - Alessio Giordano, Michele Salvatori, Vittorio Springfield Tomelleri
- Oct. 17, 2019
-
Una luna velata sul ‘Tetto del Mondo’
Culture identitarie nel Pamir afghano - Giovanni Pedrini
- Oct. 17, 2019
-
Le trasformazioni urbane nella Yerevan post-sovietica
Note su élite, economia e retorica della continuità - Vincenzo Zenobi
- Oct. 17, 2019
-
Diplomazia creativa al servizio di strategie di nicchia di una piccola potenza
La Diplomazia umanitaria dell'Azerbaigian - Carlo Frappi
- Oct. 17, 2019
- Il sostegno esterno ufficiale agli stati de facto nel Caucaso del sud
- Giorgio Comai
- Oct. 17, 2019
- The OSCE and EU Actions towards Georgian Separatist Conflicts: the Case of South Ossetia
- Fabrizio Vielmini
- Oct. 17, 2019
-
I russismi in azerbaigiano e calmucco
Un'analisi comparativa - Alessandro Goffi
- Oct. 17, 2019
- Profili bio-bibliografici degli Autori
- Oct. 17, 2019
| DC Field | Value |
|---|---|
|
dc.identifier |
ECF_chapter_2701 |
|
dc.contributor.author |
De Zorzi Giovanni |
|
dc.title |
La musica d’arte (maqom) tra Herat, Bukhara e Kashgar |
|
dc.type |
Chapter |
|
dc.language.iso |
it |
|
dc.description.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. |
|
dc.relation.ispartof |
Eurasian Studies |
|
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing |
|
dc.issued |
2019-10-17 |
|
dc.dateAccepted |
2019-07-03 |
|
dc.dateSubmitted |
2019-03-19 |
|
dc.identifier.uri |
http://edizionicafoscari.it/en/edizioni4/libri/978-88-6969-341-0/la-musica-darte-maqom-tra-herat-bukhara-e-kashgar/ |
|
dc.identifier.doi |
10.30687/978-88-6969-340-3/011 |
|
dc.identifier.issn |
2610-8879 |
|
dc.identifier.eissn |
2610-9433 |
|
dc.identifier.isbn |
978-88-6969-341-0 |
|
dc.identifier.eisbn |
978-88-6969-340-3 |
|
dc.rights |
Creative Commons Attribution 4.0 International Public License |
|
dc.rights.uri |
http://creativecommons.org/licenses/by/4.0/ |
|
item.fulltext |
with fulltext |
|
item.grantfulltext |
open |
|
dc.peer-review |
yes |
|
dc.subject |
Abd ul-Qādir ibn Ghaybi Marāghī |
|
dc.subject |
Abd ul-Qādir ibn Ghaybi Marāghī |
|
dc.subject |
Arab Islamic Art Music |
|
dc.subject |
Arab Islamic Art Music |
|
dc.subject |
Baghdad |
|
dc.subject |
Baghdad |
|
dc.subject |
Central Asian Art Music |
|
dc.subject |
Central Asian Art Music |
|
dc.subject |
Herat |
|
dc.subject |
Herat |
|
dc.subject |
Kashgar |
|
dc.subject |
Kashgar |
|
dc.subject |
Khiva |
|
dc.subject |
Khiva |
|
dc.subject |
Maqām |
|
dc.subject |
Maqām |
|
dc.subject |
On Ikki Muqam |
|
dc.subject |
On Ikki Muqam |
|
dc.subject |
Safī al-Dīn |
|
dc.subject |
Safī al-Dīn |
|
dc.subject |
Samarkand |
|
dc.subject |
Samarkand |
|
dc.subject |
Shash Maqom |
|
dc.subject |
Shash Maqom |
|
dc.subject |
Timurid Culture Bukhara |
|
dc.subject |
Timurid Culture Bukhara |
|
dc.subject |
al-Fārābī |
|
dc.subject |
al-Fārābī |
|
dc.subject |
al-Kindī |
|
dc.subject |
al-Kindī |
|
dc.subject |
‘ibn-Sinā |
|
dc.subject |
‘ibn-Sinā |
| Download data |
-
file_download 15
-
search 354
-
format_quote 0
