The article examines the theoretical legacy of medieval Arabo-Islamic musical thought through the example of the treatise “Ad-Durr an-Naqī fī Fann al-Mūsīqā” (“The Pure Pearl in the Art of Music”), created within the circle of followers of the Sufi sheikh Abu Salih ar-Rifa'i. Special attention is paid to the cosmological and ethical foundations of the maqam system, which is interpreted not as a purely technical structure, but as a holistic worldview model integrating musical, astrological, theological, and psychological knowledge. The prophetic origin of the seven basic maqams is analyzed, each of which is associated with a specific biblical prophet and his spiritual state at a crucial moment in his life. The process of transformation of the seven maqams into twelve is explained through both musical practice and the astrological principle of correspondence to the signs of the zodiac. The system of correlations of maqams with the four elements – fire, earth, water, and air – as well as with celestial spheres, patron planets, and days of the week is examined in detail. In conclusion, the maqam system in the treatise appears as a universal model of the universe, where music serves as a sacred mediator between the earthly and celestial realms.
| Mualliflar | Dilshod Amonov |
|---|---|
| Jurnal | Миллий маданият |
| Nashr sanasi | 2026-06-30 |
| Jild | 2 |
| Son | 1 |
| Betlar | 190-198 |
| DOI | 10.64681/r0m4ws45 |
DOI: 10.64681/r0m4ws45 · Maqolaning asl sahifasi · PDF
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