معرفی قطعه منظومی از رساله موسیقی منسوب به ابوالوفاء خوارزمی و بررسی درستی انتساب و تبار آن (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
این مقاله به بررسی قطعه منظوم کوتاهی منسوب به ابوالوفاء خوارزمی و صحت سنجی این انتساب می پردازد. این شعر در توضیح تناسب اوقات شبانه روز با مقامات دوازده گانه موسیقی قدیم ایران سروده شده است و محتوای آن سابقه ای در مکتوبات قدیمی تر دارد که می توان تبار آن را شناسایی کرد. هدف مقاله معرفی، تصحیح، شرح و تحلیل این قطعه ادبی با استفاده از مواد و منابع تاریخی و نیز اسناد و نسخ خطی کتابخانه ای است. در ضمنِ بحث، محتوای شعر یادشده با دو رساله دیگر موسیقی، یکی متقدم ( کنزالتُحَف اثر حسن کاشانی) و دیگری متأخر ( رساله علم موسیقی نوشته میرصدرالدین محمد قزوینی) به صورت تطبیقی مطالعه و مقایسه می شود. نتیجه اینکه مبحث فراموسیقاییِ مذکور از مباحث دوست داشتنی نویسندگان دوره گذار موسیقی ایران (اواخر قرن هشتم هجری تا پایان عصر صفوی) بوده است که با کمترین تغییری در شماری از رسالات این دوره دیده می شود. منشأ واقعی این مطالب رساله کنزالتُحَف است؛ اما استناد آن به آرای ابوعلی سیناست؛ حال آنکه این انتساب کاملاً از حقیقت تاریخی به دور است. نویسندگان برپایه شواهد و قراین نتیجه گرفته اند که اثر مدّنظر سروده شاعر و صوفی کمترشناخته شده ای به نام خواجه ابوالوفای خوارزمی (۷۶۰‑۸۳۵ ق.) است که برپایه گزارش های تاریخی، از علم ادوار و موسیقی آگاه بوده و رساله ای درباب موسیقی داشته است که نشانی از آن در دست نیست. به احتمال قوی، همین شعر نیز از رساله موسیقی مفقود او استخراج شده است. تاکنون درستی انتساب این اثر به خواجه ابوالوفاء بررسی نشده و درباره محتوای آن هم تحقیقی صورت نگرفته است.An Introduction to a Poem from the Musical Treatise Attributed to Abu al-Wafa Kharazmi and Discussing its Validity and Origin
Abstract The present study investigates a brief poem attributed to Abu al-Wafa Kharazmi and verifies the attribution. The verse has been composed to explain the suitability of the hours of an entire day with the twelve modes (maqāms) of ancient Persian music, and its content has a history in older writings that can be traced back to its origins. The purpose of the study is to introduce, describe, analyze, and critically correct this literary piece using recorded materials and sources as well as library documents and manuscripts. In the course of the discussion, the content of the poem has been comparatively studied with two other musical treatises, an earlier work ( Kanz al-Tuhaf by Hassan Kashani), and a later one ( Treatise on the Science of Music written by Mir Sadr al-Din Mohammad Qazvini). The findings show that the aforementioned trans-musical topic is one of the favourite subjects among the authors of the transition period of Persian music (late fourteenth century AH to the end of the Safavid era), which can be detected with the slightest modification in several treatises of this period. The actual source of this topic is the Kunz al-Tuhaf treatise, but it is allegedly based on the ideas of Avicenna; however, this attribution is quite far from the historical truth. Based on the evidence, the authors have concluded that the work in question in this study is by a lesser-known poet and Sufi named Khajeh Abu al-Wafa Kharazmi (760-835 AH) who, according to historical accounts, was familiar with the science of music (Advār) and had a treatise on music, which is not available today. Most likely, the poem was extracted from his lost musical treatise. So far, the validity of the attribution of this work to Khajeh Abu al-Wafa has not been scrutinized and no research has been done regarding its content. Introduction After the prime period of the Timurid era, a significant number of writings associated with Persian music are some works without any title or assigned date, whose author is also unknown. This corpus is mostly very brief and only one or two pages long, and of course, the anonymous works often do not contain remarkably fresh and original ideas. Here, the purpose of the study is to investigate one of these works related to music, of which two manuscripts are available so far. Danesh Pajouh (2011) published one of them in The Catalogue of Manuscripts on Music . This piece is a concise poem mentioning the relations between the hours of an entire day with musical modes. The Malek Library version contains sixteen verses, and the Tehran University Library version includes twelve (see Massoudieh, 2012, p. 96). The first question raised about the actual author of this piece: What evidence or proofs are there for attributing the work to Khajeh Abu al-Wafa Kharazmi? Assuming that these contents allegedly express Avicenna’s views on music, in which of his works should we locate them? What is the true origin of the contents of this poem? Regarding the suitability of the musical modes for times of the day, what is the relationship between the teachings of this poem and other such instructions provided in the music treatises before and after it? What are the similarities and differences? And to what extent? Materials and Methods Naturally, any effort to compile a theoretical and practical history of music in Iran is either inefficient or restrained to prejudice or otherwise conjecture unless historical musicology in Iran takes the first step in organizing its literary heritage and recorded materials, and those are speculations that have nothing to do with scholarly methods and qualities. In general, the research on the anonymous works of the transition period of Persian music still does not have a comprehensive background. This historical study uses a descriptive and analytical method. The library documents, as well as manuscripts, were also used. First-hand historical accounts, music catalogues, and old literature on Persian music were principal sources of information in this study. Also, we deliver a critical correction of the work by comparing the two existing manuscripts of it. Discussion of Results and Conclusions The author is mentioned as anonymous in the catalogues by Massoudieh (2012, p. 96) and Danesh Pajouh (2011, p. 433). However, in the heading of the verses in the Malek Library version, it is written in Nastaliq script that “Abu Ali Sina states, peace be upon him”. This line is crossed out later and, above it, we read some cursive and illegible script: “Khajeh Abu al-Wafa Kharazmi says”. Abu al-Wafa Kharazmi (1359-1432/ 760-835 AH), nicknamed ‘Pir-e Fereshteh’, was among the most prominent Sufi Sheikhs from Transoxiana and one of the celebrated writers and poets in the 15 th century. From Ali-Shir Nava'i’s anthology of Majalis al-Nafais (1984, p. 9), we learn that not only Khajeh was renowned in the science of music, but he was also the author of a treatise on it. Since the time of the author himself, although some biographers and chroniclers have mentioned Khajeh's music treatise in their reports on his life and works, no one except Hassan Mashhoun (2009, pp. 229, 234-5) has articulated anything about this treatise. Given that: Khajeh Abu al-Wafa was at least theoretically, and not necessarily practically, involved in the science of music and advār; He had connections with individuals engaged in music and Samā (for example, the son of Yazdan Bakhsh Changi); He was a member of the monastery and was probably present in their musical gatherings; He wrote a music treatise that his contemporaries knew about; The writers of the 15 th and 16 th centuries were more acquainted with Khajeh’s life than today and penned his poems down; The time gap between the composition of the treatise on music in the early 15 th century and the copy date of Malek's version (and probably its correction) in the late 16 th century is not more than a hundred and fifty years; And also that: The anonymous corrector of Malek's version probably deliberately crossed out the name of Abu Ali and replaced it with the name of Abu al-Wafa; It is not far-fetched if we at least assume that the poem we are considering is a part of the same lost music treatise attributed to Khajeh Abu al-Wafa Kharazmi. It should be said that the verse’s claim about attributing these trans-musical ideas to Avicenna is, if not completely false, at least very dubious and improper. In any of his musical works, Avicenna has not shown the slightest interest in the topic raised in the poem ‘Knowing the Modes for Any Time’. The musical modes which the poet mentions here are (1) Rahāvi (2) Husseini (3) Rāst (4) Busalik (5) Nahāvandi (6) Oshāq (7) Hijaz (8) Iraq (9) Mokhālef (10) Bakharz (11) Zirafkand, and the twelfth mode is unknown or illegible. The times of the day which are, in fact, the Salah times and stated by Abu al-Wafa are (1) the dawn (Fajr) (2) the sunrise (3) ‘the sun of three spears’ or before the midday (4) chāsht or the midday (5) the equinox which is around the noon call to prayer (6) the noon (Zuhr) prayer (7) between the noon and the afternoon (Asr) prayers (8) the afternoon prayer (9) the evening (Maghrib prayer) (10) the dusk prayer (Isha) (11) the midnight. The root of these contents goes back to at least the music treatise Kanz al-Tuhaf by Hassan Kashani. There is a close concurrence between what is suggested in these verses about the suitability of musical modes for the times of the day, with what Kashani quoted a century before in his treatise according to Avicenna. Also, the differences between this poem and the contents of Mir Sadr al-Din Mohammad Qazvini’s Treatise on Music, which was written a century later, are insignificant and negligible. It can be concluded that this topic was one of the more or less important and hot topics for the music authors of the transition period, which was duplicated with minimal modifications in their works. Finally, it can be claimed with a strong possibility that this piece is an extraction from the same missing music treatise by Khajeh Abu al-Wafa Kharazmi.
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