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STUD MUSIC a THE MUSICAL HERITAGE OF AL-ANDALUS Dwight F. Reynolds Pon © The Musical Heritage of Al-Andalus The Musical Heritage of Al-Andalus is a critical account of the history of Andalusian music in Iberia from the Islamic conquest of 711 to the final expul- sion of the Moriscos (Spanish Muslims converted to Christianity) in the early 17th century. This volume presents the documentation that has come down to us, accompanied by critical and detailed analyses of the sources written in Arabic, Old Catalan, Castilian, Hebrew, and Latin. It 1s also informed by research the author has conducted on modern Andalusian musical traditions in Morocco, Algeria, Tunisia, Egypt, Lebanon, and Syria. While the cultural achievements of medieval Muslim Spain have been the topic of a large number of scholarly and popular publications in recent decades, what may arguably be its most enduring contribution — music — has been almost entirely neglected. The overarching purpose of this work 1s to elu- cidate as clearly as possible the many different types of musical interactions that took place in medieval Iberia and the complexity of the various borrowings, adaptations, hybridizations, and appropriations involved. Dwight F. Reynolds is Professor of Arabic Language and Literature at the University of California, Santa Barbara, and author of numerous publications, including the co-editorship of the award-winning, The Garland Encyclopedia of World Music, Volume 6: The Middle East, published in 2002, with Virginia Danielson and Scott Marcus. SOAS Studies in Music Series Editors: Rachel Harris, SOAS, University of London, UK Rowan Pease, SOAS, University of London, UK Board Members: Angela Impey (SOAS, University of London) Noriko Manabe (Temple University) Suzel Reily (Universidade Estadual de Campinas) Martin Stokes (Kings College London) Richard Widdess (SOAS, University of London) Kwasi Ampene (University of Michigan) Linda Barwick (University of Sydney) Travis A. Jackson (University of Chicago) Moshe Morad (Tel Aviv University) Henry Spiller (University California) SOAS Studies in Music 1s today one of the world’s leading series in the dis- cipline of ethnomusicology. Our core mission is to produce high-quality, ethnographically rich studies of music-making in the world’s diverse musical cultures. We publish monographs and edited volumes that explore musical rep- ertories and performance practice, critical issues in ethnomusicology, sound studies, historical and analytical approaches to music across the globe. We recognize the value of applied, interdisciplinary and collaborative research, and our authors draw on current approaches in musicology and anthro- pology, psychology, media and gender studies. We welcome monographs that investigate global contemporary, classical and popular musics, the effects of digital mediation and transnational flows. Musicians in Crisis Working and Playing in the Greek Popular Music Industry Ioannis Tsioulakis Becoming Irish Traditional Musician Learning and Embodying Musical Culture Jessica Cawley Music in Conflict Palestine, Israel and the Politics of Aesthetic Production Nili Belkind The Musical Heritage of Al-Andalus Dwight F. Reynolds For more information about this series, please visit: www.routledge.com/ music/series/SOASMS The Musical Heritage of Al-Andalus Dwight F. Reynolds i Routledge Taylor & Francis Group LONDON AN D NEW YORK First published 2021 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2021 Dwight F. Reynolds The right of Dwight F. Reynolds to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in- Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record has been requested for this book ISBN: 978-0-367-24314-2 (hbk) ISBN: 978-0-429-28 165-5 (ebk) Typeset in Times New Roman by Newgen Publishing UK This work is dedicated to Eckhard and Elsbeth Neubauer In appreciation for their scholarship, mentorship, friendship, and hospitality Contents List of illustrations Acknowledgments Xl Introduction SECTION ONE Music in Iberia and the Mashriq up to 711 1 Music in Iberia to 711 Jewish communities in Iberia 21 2 Arab music to 711 The Great Book of Songs 26 Arab music before Islam 29 Musicians in the early Islamic period 33 Patronage 35 Conclusion 37 SECTION TWO Andalusi music to the fall of the Umayyad Caliphate, 711-1031 43 3 From the conquest to the reign of ‘Abd al-Rahman II, 711-822 45 Music in the household of al-Mughira 54 4 ‘Abd al-Rahman Il and Ziryab, 822-852 59 Ziryab in the court of ‘Abd al- Rahman IT 62 Ziryab: the early sources 62 Rivalries in the court 67 Eastern echoes 71 Vill Contents The emergence of the legend 73 The author of Kitab Akhbar Ziryab 75 The final transformation: al-Maqgqarí 77 Ziryab’s musical legacy 80 An aggregate summary 8l 5 The final years of the Caliphate, 858-1031 86 SECTION THREE Music in the medieval Mediterranean 101 “Mutual intelligibility” 101 6 Instrumentarium 105 The Arab lute 106 Bowed string instruments 110 Musical instruments of al-Andalus 116 Other instruments of al-Andalus 121 Music theory and performance practices 127 Music as mathematics 127 The music of the spheres 129 Melodic modes 129 The effect of modes 131 Music theory in al-Andalus 132 Rhythm 138 Performance practices 139 Summary: musical mutual intelligibility 141 SECTION FOUR The musical revolution in al-Andalus 147 8 From sawt to muwashshah 149 The musical structure of the medieval sawt 149 The muwashshah/zajal song-form 156 The kharja 160 Muwashshah versus zajal 161 The musical structure of the medieval muwashshah 163 Ibn Sana’ al-Mulk and Dar al-Tiraz 163 Hebrew muwashshahat 179 Conclusion 184 Contents 1x SECTION FIVE Post-Umayyad Iberia (11th-17th c.) 189 10 The era of the “petty kings,” Almoravids, and Almohads (11th-12th c.) 191 Qiyan as captives and gifts 198 Dance and puppetry 203 Music among the elite 204 Al-Tifashi's description of Andalusi song 205 11 The “Age of Minstrels” (13th-15th c.) 213 Las Cantigas de Santa María 2/4 Andalusi musicians in Christian courts 216 Church and municipal musicians 221 12 Music of the Moriscos (16th—17th c.) 226 The final expulsions 231 Epilogue 233 Bibliography 236 Index 255