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| − | '''Islamic influence upon Islamicate music''' | + | '''Islamic influence upon Islamicate music''' is multidimensional and complex... |
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| − | * Source: pre-Islamic Arabian features that remained at core of Islamic culture
| + | [[Pre-Islamic sources and Islamicate music | Pre-Islamic sources in Arabic culture, and Islamicate music]] |
| − | ** Centrality of Arabic language and verbal arts, especially poetry
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| − | ** Linguistic form: the qasida (monorhyme, monometer)
| + | [[Islamic content and Islamicate music]] |
| − | ** Genres of love (nasib), praise (madih), description, satire (hija')
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| − | ** Courtesan tradition: the qayna
| + | [[Islamic expansion and Islamicate music]] |
| − | * Expansion: powered by Islamic ideology
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| − | * Assimilation: openness to learning and multiculturalism (especially Persian arts and sciences)
| + | [[Core and periphery in Islamicate music]] |
| − | * Globalization, synergy: Islam provides cultural "lingua franca"
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| − | * Accumulation of financial capital
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| − | ** Opulent courts (Madina, Damascus, Baghdad, Cordoba, Granada...)
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| − | ** Leisure class
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| − | ** Patronage of music and singing
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| − | ** Professional class of musicians
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| − | * Accumulation of intellectual/artistic capital
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| − | ** Bayt al-Hikma
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| − | ** Music theory as philosophy
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| − | ** Development of musical arts
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| − | * Islamic content
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| − | ** Rituals
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| − | ** Language-centrality
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| − | ** Ethical conditions - Sharia
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| − | *** Qur'an
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| − | *** Sunna (Hadith)
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| − | ** Mystical currents (Sufism)
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| − | *** "tazkiyat al-nafs, tarqiyat al-ruh" (taming the self; raising the spirit or soul)
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| − | *** Batin > Zahir (Haqiqa > Sharia) (flexibility)
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| − | *** Experiential relation to God
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| − | *** Absorption of local traditions
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| − | *** Aesthetic as means to spirituality, expression of spirituality
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| − | *** Use of music/poetry to express/attain spiritual state (ecstasy, union, annihilation...)
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