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Heritage
NAJM AL-DIN ÊÀUKABI BUKHARI AND THE MAQAM THEORY IN THE 16TH TO 18TH CENTURIES
Author:
City
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Tashkent
Country :
Uzbekistan
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Maqam andar ‘adad hasht amad va char
Du shube har maqami rast na char
Eight maqam-s appeared and then four, Two shube for each maqam is true, not four. ([Kaukabi] MS No. 415/VIII: f. l93a; Nisari MS No. 56: f. 8áà; Darvish Ali Changi MS No. D403: f. 129b; MS No. 449: f. 7lb: Naomi MS No. 10226/N: ff. áà-6b: Anonymous MS No. Â2408: ff. 2à-2b.
The masnavi of Kaukabi usually consist of 17 bait-s and were also often imitated. One of such imitations I found in the late Persian-Indian treatise karamati-i majra. which was investigated by Jozef Pacholczyk (Karamat- maj ra 1 962:46).
The Kaukabis poetry comes from à period of the turning from the mathematical maqamat theory to its practical applications. Artistic ideas connected with poetry, mythology, legends and Sufic disposition reached their peak. These ideas were appreciated not less than the mathematical theory with its precise intervals
and structures of modes in the 13 — 15th centuries. Kulltyat, masnavi, and other Kaukabis musical poems give some important information about maqam-s. Among other things, they emphasize à new knowledge about the system of 12 maqam-s, 24 shube-s, six avaze-s, and in this way Kaukabis poetry supplements his treatise on music (see, for instance Chapter 6). It provided à method îf generating the avaze-s and shubå-s. Unlike in the treatises on music from the 13 — 15th centuries that belong to the mathematical tradition and did not indicate the concrete positions of shube-s and avaze-s Kaukabis works point out directly from which parts of maqam, "high" or "low" they could be extracted and how they could be combined.
Several scholars from the Middle Ages considered these maqam verses as the primary contribution of c to the science of music, as becomes evident from the above-cited Khadaiq al-naghamat:
Fathil-i Bukhari [Mavlana Kaukabi], who had the absolute advantage in this art and in the art of poetry similar to his, strung l2 maqam-s and six avaze-s in à beautiful manner on the thread of poetry, in succession which was mentioned above (Khadaiq al-naghamat MS Vve 114: f. 108, and also on the f. 111b).
Hasan Nisari in his Muzakkir al-akhbab also says that Kaukabis works (that is his kulliyat) received an unanimous appreciation among composers, and that "they will remain forever" (Nisari MS No. 4282: f. 79à; MS No. 56: f. 86b). However, few others like the author of Tuhfe-yi Sami, perhaps reflecting the official attitude of Iràn give only à very short and perfunctory mention of Kaukabi:
Mavlana Kaukabi is from among the Maverannahrs ðîåts. Among his [works] he has things in the science on circles [ilm-i advar]. At first he was in the service of one of the Uzbek sultans, [ànd] at the end he was killed in Khorasan. These two matla-s belong to him... (Sam Mirza MS No. 57: f. 132b).
À new geopolitical situation of the 16th century led to the tendency of the new regionalization îf the maqam-s centers. The divergence between the various schools became stronger. The maqam theory of Kaukabi permitted the musicians to maintain à general idea of maqam-s. Probably this was the principal contribution of Kaukabis maqam theory to Central Asian, North Indian and other traditions in the 16th ñî 18th centuries.
REFERENCES CITED:
Anonymous
MS ¹ 8739/Èl. Risala fi ‘ilm àl-musiqi. Biruni Institute of Oriental Studies of the Academy of Sciences of Vzbekistan, Tashkent.
MS ¹ Â2257. Risala dar bayan-i ‘ilmi musiqi. St. Petersburg Department of the Institute îf Oriental Studies of Russian Academy of Sciences.
MS ¹. Vve 114 Khadaiq àl-naghamat. Orhan Gazi Cami Kutuphanesi. Bursa. Signature: Ulu Cami 2655: Photocopy in Berlin Free University.
Baily, John 1988 Music of Afghanistan. Professional musicians in the City of Herat. Cambridge: Cambridge University Press.
Darvish Ali Changi MS ¹ D403 Risale-yi Musiqi.. St. Petersburg Department îf the Institute îf Oriental Studies îf the Russian Academy of Sciences.
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