George Dimitri Sawa – författare

George Dimitri Sawa’s Arabic Musical and Socio-Cultural Glossary of Kitāb al-Aghānī is the first comprehensive lexicographical study of Umayyad and early Abbāsid-era music theory and practices. It defines melodic and rhythmic modes, musical forms, instruments, technical terms and metaphors used in evaluating compositions and performances, and the emotional effects of ṭarab. It explains the processes of composition and learning, performance practice, musical change and aesthetics, and addresses the behavior of court musicians to help understand societal views of music. Medieval dictionaries, reference works on Arabic literature, theoretical treatises as well as full quotations from the Aghānī are used. This glossary will be of interest to scholars and students of the music and socio-cultural history of the early Islamic era.

The present volume consists of translated anecdotes, on musicological and socio-cultural topics, from al-Iṣbahānī’s Kitāb al-Aghānī al-Kabīr (The Grand Book of Songs) with annotations and commentaries. It deals with musical rhythmic and melodic modes, technical terms and treatises; music instruments; composition techniques and processes; education and oral/written transmissions; vocal and instrumental performances and their aesthetics; solo and ensemble music; change and its inevitability; musical and textual improvisations; ṭarab and the acute emotions of joy or grief; medieval dances; social status. Though extracts from The Grand Book of Songs have been translated in European languages since 1816, this work presents a much larger and more comprehensive scope that will benefit musicologists, medievalist and Middle Eastern scholars as well as the general reader.

The Book for the Completion of Musical Knowledge is one of two unique treatises coming down to us from the 11th century; the other is Encompasser of the Arts of Ibn al- Ṭaḥḥān al-Mūsīqī. Both are written by practicing musicians and composers, and as such provide, a most welcome musical practices supplement to the tenth-century legacy of music theory and literature, namely, the works of al-Fārābī and al-Iṣfahānī. In composition, al-Kātib provides useful details regarding the process to set a poem to music; in education, he advises students on how to choose a good teacher; in performance, he advises students about to breathe properly and how to ornament vocal and instrumental music.

Ḥāwī l-Funūn (Encompasser of the Arts) of Ibn al-Ṭaḥḥān (d. ca. 1057) is a medieval Arabic music dictionary that complements other sources because of the practical knowledge of the author who was an accomplished singer, lutenist and composer.The first part in 80 chapters deals with compositions; voice production and characteristics, unison and duet singing, taking care of the voice; preludes, ornaments, ṭarab; the importance of tonality; approaches to teaching; musical and extra-musical behavior at the court; names of Syrian Fatimid and Ishshīdid singers.The second part in 22 chapters includes lute manufacturing, frets placement, stringing and tuning; 47 rhythmic ornaments, names and definitions of rhythmic and melodic modes; types of dances; descriptions of 12 instruments.

The present volume is a double edition in English and Arabic about the art of ornamentations in the performance of the Arabic qanun (psaltery), and a historical document spanning more than one hundred years. It is based on George Sawa's experience as an artist and performer, as well as the experience of his teachers and their teachers. For the latter, Dr Sawa used his recollections of what his teachers said about their teachers, as well as recordings made by European companies that recorded their works on 78 rpm at the beginning of the 20th century. .

The manuscript from the thirteenth century deals with musicians’ behaviour at the court; singers'qualities; the eminence of music and its effect on people and animals; the importance of drinking when listening to music; the process of composition; rhythmic and melodic modes, and repertoire in Andalusia, the Maghreb, Persia and the Middle East; Andalusian song lyrics and the appearance of new poetic forms such as the zajal and the muwashshaḥ; Andalusian musical instruments; dances of Egypt, Iraq, Syria, India and China; Andalusian dances and shadow plays and shadow dancers; aesthetics of dance; poems describing the dances.