Publication: Hasan B. Ahmed B. Ali El-Kâtib’in Kemâlü Edebi’l-ğınâ adlı eseri
Abstract
HASAN B. AHMED B. ALİ EL-KÂTİB’İN KEMÂLÜ EDEBİ’L-ĞINÂ ADLI ESERİ Satır aralarında ve bazı kaynaklardan elde ettiğimiz bilgiler ışığında X. yüzyılın sonu veya XI. yüzyılın başlarında yazıldığı tahmin edilen Hasan b. Ahmed b. Ali el-Kâtib tarafından kaleme alınan ansiklopedik eser Kemâlü Edebi’l-Ğınâ kendi dönemi ve kendinden sonraki dönemlerin mûsikî yapısının anlaşılmasında önemli bir yer teşkil etmektedir. Hem nazarî hem de amelî mûsikînin inceliklerinin anlatıldığı bu eser kısaca sesin tanımı, sesin oluşumu, ses oranlarının ne zaman bulunduğu, insanda ses, perde, nağme, aralıklar, aralık çeşitleri, cins ve çeşitleri, cem’ ve çeşitleri, tarika, lahinlerin çeşitleri, faziletleri, lahinlerin manası, lahinler ile ilgili terimler, lahin-güfte ilişkisi, lahin-felek-nefis ilişkisi, îkâ tanımı ve çeşitleri, îkâya ait terimler, lahinlerin tertibi, mûsikişinas vasıfları, icrada yapılması gerekenler, bestekâr vasıfları, mûsikîşinasın imtihan edilmesi, lahinlerde hırsızlık, boğaza faydalı-zararlı şeyler, boğaz terimleri, dinleyicinin özellikleri ve enstrumanlara dair konuları içermektedir. Ayrıca bugün literatürde yer almayan yönetici, filozof, şair, mûsikişinas ve onlara ait kitap isimleri sayesinde mûsikî tarihinin karanlıkta kalmış boşlukların aydınlatılmasına yardımcı olacağı düşüncesindeyiz. Çalışmamızı kendi dönemine kadar yazılmış Fârâbî’nin Mûsikâ’l-Kebîr, İbn Sînâ’nın Kitâbü’ş-Şifâ, İbn Hurdâzbih’in Kitâbü’l-Melâhî, Kindî’nin mûsikî risâleleri, Harezmî’nin Mefâtihu’l-Ulûm, İhvan-ı Safâ’nın er-Resâil, Ebu’l-Hüseyin ibn el-Hasan İbn el-Tahhân’ın Havi’l-Fünûn Ve Selvetü’l-Mahzûn adlı eserlerindeki ilgili bölümlerin ele alınarak, Kemâlü Edebi’l-Ğınâ ve kendi dönemine kadar yazılan bu eserler arasındaki benzerlik ve farklılıklar gösterildi.
In the light of the acquired knowledge by reading relevant sources and between the lines, the encyclopedical work Kamal adab al-ghina, which is penned by Hasan ibn Ali al-Katib presumably in the late 10th or early 11th centuries, occupies an important place in the understanding of the musical structure of its own time and afterwards. This book, which has both theoretical and practical details of music, covers topics such as the definition and formation of sound, the discovery time of sound ratios; voice, pitch, tune, intervals and their types, tetrachords and their types, scale and its types, method (tarika), types of music, its merits and meanings, musical terminology, music-lyrics relation, music-space-nafs relation, definition of rythm, its types and terminology, categorization of rythm, specialities of the musician, requirements of performing, specilities of the composer, examination of the musician, plagiarism in music, useful and harmful things for vocal cords and related terms, specialities of the audience, and musical instruments. Additionally, this dissertation aims at contributing to fill the gaps in the history of music by providing the names of some rulers, philosophers, poets, musicians and their works which were until then unknown. By analysing the relevant chapters of the previous works such as Al-Farabi’s Kitab al-musiqa al-kabir, Avicenna’s Kitab al-shifa’, Ibn al-Khurdazbih’s Kitab al-malahi, Al-Kindi’s epistles on music, Al-Khwarizmi’s Mafatih al-ulum, Ikhwan al-Safa’s ar-Rasail, Abu al-Husayn ibn al-Hasan ibn al-Tahhan’s Hawi al-funun wa al-salwa al-mahzun, the similarities and the differences between the mentioned works and Kamal adab al-ghina were pointed out.
In the light of the acquired knowledge by reading relevant sources and between the lines, the encyclopedical work Kamal adab al-ghina, which is penned by Hasan ibn Ali al-Katib presumably in the late 10th or early 11th centuries, occupies an important place in the understanding of the musical structure of its own time and afterwards. This book, which has both theoretical and practical details of music, covers topics such as the definition and formation of sound, the discovery time of sound ratios; voice, pitch, tune, intervals and their types, tetrachords and their types, scale and its types, method (tarika), types of music, its merits and meanings, musical terminology, music-lyrics relation, music-space-nafs relation, definition of rythm, its types and terminology, categorization of rythm, specialities of the musician, requirements of performing, specilities of the composer, examination of the musician, plagiarism in music, useful and harmful things for vocal cords and related terms, specialities of the audience, and musical instruments. Additionally, this dissertation aims at contributing to fill the gaps in the history of music by providing the names of some rulers, philosophers, poets, musicians and their works which were until then unknown. By analysing the relevant chapters of the previous works such as Al-Farabi’s Kitab al-musiqa al-kabir, Avicenna’s Kitab al-shifa’, Ibn al-Khurdazbih’s Kitab al-malahi, Al-Kindi’s epistles on music, Al-Khwarizmi’s Mafatih al-ulum, Ikhwan al-Safa’s ar-Rasail, Abu al-Husayn ibn al-Hasan ibn al-Tahhan’s Hawi al-funun wa al-salwa al-mahzun, the similarities and the differences between the mentioned works and Kamal adab al-ghina were pointed out.