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'Abd al-Qadir Maraghi
'Abd al-Qadir Maraghi
عبدالقادر غیبی مراغی
Born	'Abd al-Qadir al-Maraghi ibn Ghaybi; Maragh, Timurid Empire
Died	1435; Herat, Timurid Empire

'Abd al-Qadir al-Maraghi ibn Ghaybi (Persian: عبدالقادر غیبی مراغی; d. 1435) was a music theorist, composer and performer of the Timurid Empire, variously described as Persian, Turkish and Azerbaijan.^[1]^[2] A renowned musician and writer on music, his theories had a profound influence on subsequent Persian, Arab, and Turkish music.^[3]^[4]

Safi al-Din al-Urmawi

Qutb al-Din al-Shirazi

[1] – use for sources!

Life

Abd al-Qadir al-Maraghi ibn Ghaybi was born Maragh of the Timurid Empire during the mid 14th century.^[1]^{[n 1]}

Ibn Ghaybi al-maraghi abd al-Qadir.^[6]

variously described as Persian, Turkish and Azerbaijan^[7]

c. 1350.^[6]

"traditionally considered to be the founder of Turkish music research"^[6]

^{[n 2]}

Maragalı Abdülkadir

Abdulqadir Maraghi

Abdülkadir Meragi (grove)

"Turkish was his mother tongue, and he is traditionally considered a founding father of Turkish music"^[8]

He had become one of the court minstrels of the Jalayirid Sultan al-Husayn around 1379. Under Sultan Ahmad Jalayirid, he was appointed the chief court minstrel. When Timur captured Baghdad in 1393, he was transported to Samarqand, which was the capital of the Timurid dynasty. In 1399, he was in Tabriz at the service of Timur's wayward son Miranshah. Abdl al-Qadir was blamed for the erratic conducts of Miranshah, and Timur acted swiftly in order to capture him. But Abd al-Qadir, was forewarned and escaped to the Jalayrid court of Sultan Ahmad in Baghdad. Timur again recaptured Baghdad in 1401 and took Abd al-Qadir back to Samarqand. Abd al-Qadir became one of the brilliant men at the court of Timur's son, Shahrukh . In 1421, he also wrote a musical treatise (see below) for the Ottoman Sultan Murad II. He died in Samarqand in 1435.

His students included Fathallah al-Shirwani (d. 1486).^[9]

"Two others, ʿAlī al-Sitāhī (or Sītā’ī) and Ḥusām al-Dīn Quṭlugh Būqā, are mentioned in ‘Azzāwī and Neubauer’s works on the basis of the works of ʿAbd al-Qādir Marāghī (d. 838/1435), the most accomplished Persian writer in the field of music, who was raised in Baghdad and wrote a lengthy commentary on Kitāb al-adwār."^[10]

".For ‘Abd al-Qadir, the nawba was clearly the most important form (he attempted, unsuccessfully, to enlarge it by adding a complex fifth element). By the late 15th century, however, it was evidently in decline, and soon afterwards it disappeared"^[11]

Works on music theory

Abd al-Qadir was proficient in music, poetry and painting. This made him to be a highly desired artisan amongst the courts of different dynasties. It was due to his musical talent that he was named by his contemporaries as the Glory of the past age.^[12]

Abd al-Qadir is known for his four works on music theory. All three surviving works were written in Persian. His most important treatise on music is the Jami al-Alhan (جامع الالحان) (Arabic for Encyclopedia of Music), autographs of which are preserved at the Bodleian Library and the Nuruosmaniye Mosque Library in Istanbul. The first manuscript of this work was written in 1405 for his Nur al-din Abd al-Rahman was revised by the author in 1413. The second manuscript was written in 1415, carries a dedication to Sultan Sharukh of the Timurid dynasty.

The second major work of Abd al-Qadir is the Persian book Maqasid al-Alhan (Arabic for: Purports of Music)(مقاصد الالحان). It was dedicated to the Ottoman Sultan Murad II.

A third treatise on music, the Kanz al-Tu.af (Treasury of Music) which contained the author's notated compositions, has not survived.

His last work, the Sharh al-Adwar (Commentary on the [Kitab al-Adwar] of Safi al-Din al-Urmawi) (شرح الادوار), is to be found in the Nuruosmaniye Mosque Library in Istanbul.

The first to use the word maqam^[13]

Nilgün Doğrusöz and Ozan Baysal

"His complicated professional life, zigzagging between Tabriz, Baghdad, Samarkand and Herat, illustrates the mobility of master musicians of the period"^[14]

Writings

al-Maraghi, 'Abd al-Qadir ibn Ghaybi [d. 1435]. Jāmi' al-alḥān [Compendium of melodies] (in Persian).{{cite book}}: CS1 maint: numeric names: authors list (link)
——. Maqāṣid al-alḥān [Purports of melodies] (in Persian).{{cite book}}: CS1 maint: numeric names: authors list (link)
——. Sharḥ-i adwār [Commentary on the Kitāb al-adwār] (in Persian).{{cite book}}: CS1 maint: numeric names: authors list (link)

[2] [3]

References

Notes

^ Although Maragh is more day Azerbaijan... ^[5]
^ With diacritics his name is ‘Abd al-Qādir ibn Ghaybī al-Marāghi.^[1] Feldman renders it as Abd al-Qadir Marâghî Ibnu Ghaibî.^[7] In Turkish literature he is often referred to as Marağî.^[7]

Citations

^ ^a ^b ^c Wright 2001, § para. 1.
^ Blum 2007, § para. 1.
^ Donzel 1994, p. 8.
^ Biran 2016, p. 146 note (52).
^ Feldman 2015, p. 87.
^ ^a ^b ^c Karahasanoğlu 2015.
^ ^a ^b ^c Feldman 1990–1991, p. 92.
^ https://www.oxfordmusiconline.com/grovemusic/display/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000044912#0000044912-p-56
^ Wright 1995b, p. 458.
^ Biran 2016, p. 146.
^ Feldman 2015, pp. 111–112.
^ Cite error: The named reference encyclopediaofislam was invoked but never defined (see the help page).
^ Doğrusöz & Baysal 2014.
^ Baily 2017, p. 205.

Sources

Baily, John (2017). "The music of the Timurids and its legacy in Afghanistan". In Stokes, Martin; Harris, Rachel (eds.). Theory and Practice in the Music of the Islamic World: Essays in Honour of Owen Wright. New York: Routledge. ISBN 978-1-351-75215-2.
Biran, Michael (2016). "Ṣafī al-Dīn Urmawī and the Ilkhanid Circle of Musicians". In Nicola, Bruno; Melville, Charles (eds.). The Mongols' Middle East: Continuity and Transformation in Ilkhanid Iran. Leiden: Brill Publishers. pp. 133–155. ISBN 978-90-04-31199-2.
Blum, Stephen (2007). "Abd al-Qādir al-Marāghī". Encyclopaedia of Islam. Leiden: Brill Publishers. doi:10.1163/1573-3912_ei3_SIM_0241. ISBN 978-90-04-16164-1.
Doğrusöz, Nilgün; Baysal, Ozan (2014). "Music, Technical Aspects of". In Kalin, Ibrahim (ed.). The Oxford Encyclopedia of Philosophy, Science, and Technology in Islam. Oxford: Oxford University Press. ISBN 978-0-19-981257-8.
~~Donzel, E. J. van (1994). Islamic Desk Reference. Leiden: Brill Publishers. ISBN 90-04-09738-4.~~
Feldman, Walter (Autumn 1990 – Winter 1991). "Cultural Authority and Authenticity in the Turkish Repertoire". Asian Music. 22 (1): 73–111. doi:10.2307/834291. JSTOR 834291.
Feldman, Walter (2015). The Musical "Renaissance" of Late Seventeenth Century Ottoman Turkey: Reflections on the Musical Materials of Ali Ufkî Bey (ca. 1610-1675), Hâfiz Post (d. 1694) and the "Marâghî" Repertoire. Würzburg: Ergon-Verlag. pp. 87–138. doi:10.5771/9783956507038-87. ISBN 978-3-95650-094-7.
~~Karahasanoğlu, Songül (2015) [2014]. "Abd al-Qādir al-Marāghī". In Libin, Lawrence (ed.). The Grove Dictionary of Musical Instruments. Oxford: Oxford University Press. ISBN 978-0-19-974339-1.~~
Lucas, Ann E. (2019). Music of a Thousand Years: A New History of Persian Musical Traditions. Berkeley: University of California Press. ISBN 978-0-520-97203-2. JSTOR j.ctv1f884pp.
Wright, Owen (October 1994). "'Abd al-Qādir al-Marāghī and 'Alī b. Muḥammad Binā'ī: Two Fifteenth-Century Examples of Notation Part 1: Text". Bulletin of the School of Oriental & African Studies, University of London. 57 (3): 475–515. doi:10.1017/S0041977X00008880. JSTOR 619318. S2CID 246637305.
Wright, Owen (1 January 1995). "'Abd al-Qādir al-Marāghī and 'Alī b. Muḥammad Binā'ī: Two Fifteenth-Century Examples of Notation Part 2: Commentary". Bulletin of the School of Oriental & African Studies, University of London. 58 (1): 17–39. doi:10.1017/s0041977x00011836. JSTOR 619996. S2CID 221955811.
~~Wright, Owen (1995b). "A Preliminary Version of the "kitāb al-Adwār"". Bulletin of the School of Oriental & African Studies, University of London. 58 (3): 455–478. JSTOR 620103.~~
Wright, Owen (2001). "'Abd al-Qādir". Grove Music Online. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.article.00025. (subscription or UK public library membership required)