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Shams al-asvat: the Sun of Songs

Fallahzadeh, Mehrdad [u.a.][Übers.]:
Shams al-aṣvāt : the Sun of Songs by Ras Baras (an Indo-Persian Music Theoretical Treatise from the Late 17th Century) / critical ed., Engl. transl., introd. and annot. by Mehrdad Fallahzadeh & Mahmoud Hassanabadi. - Uppsala : Uppsala universitet, 2012. - 145, 104 S. : Ill. - (Studia Iranica Upsaliensia ; 18) (South Asian studies ; 3)
Einheitssachtitel: Šams al-aṣwāt <Persisch, engl.>
ISBN 978-91-554-8399-9 / 978-91-554-8400-2
SEK 258,00
DDC: 780.954

This study is an attempt to provide a critical edition and English translation of an Indo-Persian treatise entitled Shams al-aṣvāt, a Persian translation-cum-commentary on the monumental medieval Sanskrit musicological work Saṅgītaratnākara of Śārṅgadeva. Shams al-aṣvāt was written in 1698 by Ras Baras, the son of Khushḥāl Khān Kalāvant. The critical edition is followed by an English translation of the edited text.
   The treatise represents the Subcontinent stream of Persian post-scholastic writings on music theory which began in the 16th century and lasted to the middle of the 19th century when Persian lost its status as the literary language of the subcontinent and was replaced by English.
   In the introduction to the critical edition, the editors try to trace the treatise back to the original Sanskrit work and prove that Shams al-aṣvāt is a translation-cum-commentary on Saṅgītaratnākara.
   The most important conclusions drawn in the present study are that Persian translations of Sanskrit music theoretical works were not merely translations but also “harmonizations”, according to the current practice of their time. Furthermore, the present study shows that in order to reconstruct the archetype/autograph regarding musical terms, despite the risk of confusing and mixing newer terms and descriptions with the older ones, an eclectic approach is the most successful and fruitful. Using primary and parallel sources reduces the risk considerably. [Uppsala universitet]

List of Illustrations. xvi
Transliteration system. xxi
Abbreviations. xxii
Preface. 23
   The author. 27
   The work. 29
   The manuscripts. 33
   The evolution of the manuscripts. 61
   Principles of the edition. 66
   Notes on the English translations. 71
   Stemma codicum. 72
[Preface]. 75
Part 1: Concerning the description of features of svara, which is named svarādhyāya in Hindī. 86
Part 2: Concerning the explanation of rāgas which is termed rāgādhyāya in Hindī. 104
Part 3: On the explanation of 'l'p (ālāpa), that is to say, to omit and modify the svara of a rāga, and the explanation of its component parts which is called prakīrṇakādhyāya. 112
Part 4: On the description and explanation of various types of gītā (music), which is called prabandhādhyāya in Hindī, and their features. 121
Part 5: On the explanation of the rules of dastak-zadan ([keeping the rhythm by] clapping the hands [i.e. the knowledge of rhythm]) which is called tālādhyāya. 124
Part 6: On [musical] instruments and their features which is called vādādhyāya [in Hindī]. 127
Bibliography. 129
Index of musical terms. 133

FALLAHZADEH, MEHRDAD (Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Linguistics and Philology)
HASSANABADI, MAHMOUD (Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Linguistics and Philology)

Quellen: Uppsala universitet, DIVA; Ferdosi; Acta Universitatis Upsaliensis
Bildquelle: Indologica, eigene Aufnahme
Bibliographie: [1]