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  • 中野 さやか
    日本中東学会年報
    2012年 28 巻 1 号 59-98
    発行日: 2012/07/15
    公開日: 2018/03/30
    ジャーナル フリー
    In this article, I will focus on 97 singers whose biographies are recorded in Kitāb al-Aghānī, written by Abū al-Faraj al-Iṣfahānī. The aim is to analyze the parent-child and teacher-student relationships between the singers and the way in which the singers were connected with the courts of the Umayyad and Abbasid dynasties. In the first chapter, I will analyze the 97 singers appearing in the book according to the periods during which they lived and the social status they had, with reference to a list of the singers. Subsequently, I will attempt to identify a large faction of professional singers existing among the 97 singers. In the second chapter, I will analyze how this large group of singers was connected with the courts of the Umayyad dynasty and the Abbasid dynasty. Through this analysis, I would like to make clear the social role the singers took on and also the cultural continuity between the Umayyad court and the Abbasid court. In the third chapter, I will focus on 100 Songs, that were selected from those sung in the Abbasid court. Those songs were applied by the author, Abū al-Faraj al-Iṣfahānī, as the first criteria in selecting songs for Kitāb al-Aghānī. Here, it should be noted that 100 Songs includes lyrics written by singers whose individual biographies and anecdotes are not recorded in the book. A comparison between such “anonymous” singers and the large faction of major singers whose information is recorded in the book in detail will reveal the way in which people from the ninth century through the tenth century adopted and rejected information concerning the court.
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