282 r Amnon Shiloah
it represents melismatic techniques, special arabesques, and preferential
musical modes.
Notes
- These ideas are masterfully developed in A. Shiloah, The Epistle on Music of Ikhwān
al-Safā (Tel-Aviv: Tel Aviv University Press, 1978). - See A. Shiloah, “Music and Religion in Islam,” Acta Musicologica 69, no. 2 (1997):
15–28. - Abu al-Faraj Al-Isfahānī, Kitāb al-Aghāni, 24 vols. (Cairo: D(ah)r al-kutub al-
mi(s1)riyya, c. 1929), 3:116–17. - Ch. Pellat, “Sur quelques femmes hostiles au prophète,” in Vie du Prophète Ma-
homet, colloquium (Strasbourg, 1980), 77–86. - Ibid., 83
- Higinio Anglés, “La musique juive dans l’Espagne médiévale,” Yuval: Studies of the
Jewish Research Centre 1 (1968): 48–64. - Ibid., 48.
- Ibid., 53.
- Ahmad ibn Muhammad al-Maqqar(ih), Nafh al-tīb, ed. Ihsān ̔Abbās (Beirut,
1968), 3:122–23. - Ibn Sa ̔id al-Maghribī, al-Mughrib fi hula al-Maghrib, ed. Shawqī Dayf (Cairo,
1953), 1:128–29. - Benjamin M. Liu and James T. Monroe, Ten Hispano-Arabic Strophic Songs in the
Modern Oral Tradition: Music and Texts (Berkeley: University of California Press, 1989),
- Ibn Bassām, al-Dhakhīra, ed. Ihsān ̔Abbās (Beirut: Dār al-Thaq(ah)fa, 1975),
4:1:126–36. - E. Levi-Provençal, Islam d’Occident (Paris: Librairie orientale et Americaine,
1948), 119–20. - Alexis Chottin, Tableau de la musique Marocaine (Paris: Geuthner, 1939), 149–53.
- Eugène Delacroix, Journal d’Eugène Delacroix (Paris: Plon, 1893), 215.
- Dov Noy, ed., Jewish Folktales from Morocco (Jerusalem: bitfutzot ha-golah, 1964).
- Laurence D. Loeb, “The Jewish Musician and the Music of Fars,” Asian Music 4, no.
1 (1972): 3–14. - Alexander Christianowitsch, Esquisse historique de la musique arabe aux temps
anciens, avec dessins d’instruments et 40 mélodies notées et harmonisées (Cologne: M.
Dumont-Shauberg, 1863). - Ibid., 2.
- Ibid., 5.
- Sādeq al-Rizqī, al-aghānī al-tūnisiyya (Tunis: al-D(ah)r al-tunisiyya li’l nashr,
1967). - Ibid., 16–17.