Eurasian Studies

Balkans, Anatolia, Iran, Caucasus and Central Asia Studies Notebooks

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

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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.


Open access | Peer reviewed

Submitted: March 19, 2019 | Accepted: July 3, 2019 | Published Oct. 17, 2019 | Language: it

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

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


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