641 STUDIES ON THE s∂m.t+f VERB FORM IN CLASSICAL EGYPTIAN V 642 A SUPPLEMENTARY BIBLIOGRAPHY OF ANDALUSI STROPHIC POETRY AND ITS INFLUENCE* 1. INTRODUCTION The stanzaic genres muwassaÌ and zajal normally are not included in the great medieval anthologies, since they were considered as non-classical by the Arabic theoreticians. The earliest source is Ibn Bassam (12th century, Santarem). The popularity of these Andalusi forms increased rapidly after the legendary “invention” in the ninth century. The poetical and musical form soon reached almost all regions, not only in the literary and musical practice of the Dar al-Islam but also in the Hebrew secular, liturgical and paraliturgical tradition. In the last two centuries, particularly after the publication of Baron David de Gunzburgs' Le Divan d'Ibn Guzman, texte, traduction, commentaire… the interest increased in the study of the literary tradition of al-Andalus. Since the seventies of the 18th century, many studies demonstrated the relationship between Andalusi strophic poetry and analogous Romance parallels (Juan Andrés; Hammer-Purgstall, von Schack and others). In the first half of the 20th century this tendency was to be continued by Ribera, Menéndez Pidal, Nykl and many others. The Andalusi strophic forms were the models for anal- ogous forms, such as the estrambote, frottole, virelai, rondel, cantiga, villancico, vilancete, lauda, ballata, etc., which all share some common features. The final section of the muwas- saÌ, the kharja (=‘exit') has been studied excessively after Henk Heijkoop, Culemborg Otto Zwartjes Nijmegen. 643 BIBLIOTHECA ORIENTALIS LV N° 5/6, September-December 1998 644 1948, the year of the pioneer study of Samuel Miklos Stern, (1977) are numbered H 1, H 2, etc. and references to the first who deciphered Romance “love-songs” written in Hebrew section of the supplement of Hitchcock are numbered S 1, S characters. Many studies have appeared on this subject which 2, etc. Items from the second section of the supplement com- resulted in the need of a critical bibliography. Richard Hitch- posed by López-Morillas are numbered SA 1, SA 2, etc. At cock published such a bibliography in 1977 and ten years the end of this bibliography we add a list of correspondences later, additional bibliographical references were published by between items of the four series and their reviews. Samuel Armistead (Hitchcock S 17). In recent years progress This publication is not a critical bibliography, but occa- has been made, not only in kharja studies but also in the sionally some information has been added, particularly when research in the field of the historical, literary and a certain title does not reveal that relevant fragments are deal- (ethno)musicological aspects of the Andalusi strophic forms ing with the subject. Short summaries of unpublished disser- and analogous non-Arabic poetry. The palaeographical edi- tations are taken from the Dissertation Abstracts Interna- tions of the Kitab cuddat al-jalis wa-mu'anasat al-wazir wa- tional (DAI). Titles in Arabic, Hebrew, Russian, Dutch, etc. al-ra'is of cAli b. Bisri al-Gharna†i (S 116) and the Jays al- are accompanied by an English translation. Technical terms, tawsiÌ of Lisan al-Din Ibn al-Kha†ib (HZ 551), both edited such as tawsiÌ, nawba are not translated. by Alan Jones, the progress in the interpretations of the Ara- Of the authors, the first one (musician and private scholar) bic material by Federico Corriente (S 43; S 49bis; HZ 206; is preparing a bibliography of Islamic Spain and Portugal, of HZ 209; HZ 213 and HZ 214) and the Hebrew material by which this article forms a small part. The second author has Federico Corriente and Ángel Sáenz-Badillos (HZ 216 bis published a monography on this subject (HZ 1132), which is and 216 ter) and the publication of the proceedings of two con- an amplified and corrected version of his dissertation presented gresses in Exeter (S 117) and Madrid (S 50) were all new at the University of Nijmegen (HZ 1130). For the correction impulses for the research in the field. Recently, three mono- of Hebrew and Arabic entries, we particularly wish to thank graphies have appeared on the subject: Galmés de Fuentes Wim Delsman and Gert Borg (Department of Languages and (1994; HZ 352), Zwartjes (1997; HZ 1132) and Corriente Cultures of the Middle East (TCMO), University of Nijmegen). (1998; HZ 214) containing more bibliographical references. In order to keep the bibliography up to date and as complete In 1993, three years before its publication, a supplemen- as possible, we welcome any correction and/or addition. tary critical bibliography was compiled containing two sec- tions, the first composed by Richard Hitchcock (226 entries) and the second dedicated to articles, anthologies and studies 2. BIBLIOGRAPHY written in Arabic, composed by Consuelo López-Morillas c (113 entries). [HZ 510] The criteria adopted for determining Abbas, I. whether an item be included are different if we compare the [HZ 1] (1994) “Nowa muwassaÌa we wspó¥czesnej poezji arab- skiej.” [New muwassaÌa in modern Arabic poetry]. In: M.M. two bibliographies of Hitchcock. Arabic titles were excluded Dziekan (ed.) Plenas Arabum domos. Materia¥y IV ogólnopol- in the first edition in 1977 which “includes all items con- skiej konferencji Arabistycznej. Warszawa, 25-26 marca 1993, cerned directly with the interpretation and significance of the Warszawa, 11-25. kharjas, together with a representative selection of items deal- ing with their context, the problems they raise, and less cen- Abbas, A. tral issues. Consequently a number of items relating to the [HZ 2] (1965) Al-muwassaÌat al-andalusiya: nas'atuha wa- zajal and to troubadour poetry have been included, but a ta†awwuruha. [The Andalusi muwassaÌ: their origins and greater number concern the re-evaluation of the controversial development]. Beirut. problem of Romance lyric origins in the light of the discov- cAbdannabi, M. ery of the kharjas” (Hitchcock 1977:8). In the supplement, [HZ 3] (1922) Majmucat azjal. [Anthology of azjal]. 3 Vols. more entries related to the zajal and studies of the music of Cairo. popular Arabic poetry are included. Although Hitchcock Originally published in three parts (1916, 1922 and 1923). admits that the inclusion of additional data from Hebrew poetry is needed, few titles can be found in the supplement. Abdel-Nour, J. This fact and the omission of a great number of studies, par- [HZ 4] (1957) Étude sur la poésie dialectale au Liban. Préface de ticularly concerning the (ethno)musicological context moti- Fouad E. Bustany. Beirut, XIV, 202 pp. (thèse complémentaire). vated us to publish this supplementary bibliography. In the Abdelwahab, Î. Î. research of the last decades, many parallel discussions about [HZ 5] (1918) “Le développement de la musique arabe en Ori- the genres, their origins, proliferation and their historical and ent, Espagne et Tunisie.” Revue Tunisienne, 25: 106-117. literary features can be found in both literary and Reprint in: Î. Î cAbd al-Wahhab: Waraqat can al-Ìa∂ara al- (ethno)musicological studies. This supplementary bibliogra- carabiya fi Ifriqiya, Vol. II: 1966, 171-200 (s.t. Al-musiqa wa- phy attempts to contribute to this need. As a new feature, as alat al-†arab fi-l-qu†r al-tunisi). See M. Qi†a† (1991): [HZ 831]. compared with the previous bibliographies, we include some [HZ 6] (1959) “Al-Tifasi al Qafsi.” Al-Fikr, 4, no.9 (june): 816- titles concerning modern muwassaÌs and azjal from Egypt, 822. North Africa, Syria, Yemen and other areas of the Arabic Aben ∑ur, Jacob, Moses and Shalom speaking world. c All items mentioned in this publication are numbered [HZ 6bis] (1893) Et le-khol ÌefeÒ. No-Amon (Alexandria), 1893. Compositions by Jacob b. Re'uben Aben ∑ur, Fez, 1673-1752. (Heijkoop Zwartjes; HZ 1, HZ 2, etc.). Reviews, re-editions Contains baqqasot, muwassaÌs, piyyutim, etc. and additions to entries mentioned by Hitchcock and/or López-Morillas are also included. In such cases, the biblio- Abraham, G. graphical details can be found in the two bibliographies of [HZ 7] (1975) “Arab Melodies in Rimsky-Korsakov and Hitchcock and López-Morillas. References to Hitchcock Borodin.” Music and Letters, 56: 313-318. Reprint in: G. 645 A SUPPLEMENTARY BIBLIOGRAPHY OF ANDALUSI STROPHIC POETRY 646 Abraham, Essays on Russian and East European Music, Allony, N. Oxford, 1985, 93-98. [HZ 21] (1949/5709) Toledot torat ha-misqalim ha-sefaradim. Themes from Rimsky's Antar-symphony and the melody of [The history of the theory of Sefardic metra]. Ph.D. Thesis, Borodin's “Arabskaja melodija”, based on Salvador Daniel: Jerusalem, 45 pp. (in Hebrew). Album de chansons arabes, mauresques et kabyles (Paris 1863 [HZ 22] (1951) Torat ha-misqalim sel Dunas Yehudah Halewi [HZ 938]) and A. Christianowitsj: Esquisse historique de la we Abraham Ibn cEzra. [The Scansion of Medieval Hebrew musique arabe. Köln, 1863 [HZ 176]. Poetry: Dunas, Yehudah ha-Lewi and Abraham Ibn cEzra]. Jerusalem, 231 pp. (in Hebrew). Abu Bu†aina, MuÌammad cAbd al-Muncim [HZ 8] (1972) “Al-zajal al-carabi.” [The Arabic zajal]. Al-Hilal, Almbladh, K. no. 270: 18-25. [HZ 23] (1992/3) “Ma la∂∂a li sharbu-raÌi: an Arabic [HZ 9] {SA 5} First edition: Cairo, 1930 (s.t. Azjal al-Bu†ayna, MuwashshaÌa and its Hebrew Mucara∂at.” Orientalia Sue- 2nd collection), 192 pp. Reprint: Cairo, 1935-1938 (4 vols, cana, 41/42: 5-16. complete collection). Influence of Abu Bakr al-Abya∂ in compositions of Joseph b. ∑addiq, Yehudah ha-Lewi and Abraham b. cEzra. Abu Dib, al-∑acid [HZ 24] (1992/3) “The Xarja and its Setting. On the Thematic [HZ 10] (1968a) “Fann al-muwassaÌ.” [The art of the muwas- Transition to the Xarja in MuwashshaÌat.