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دور النساء في تطوير الموسيقى في الحجاز في العصر الأموي | ||
| التاریخ والحضارة الاسلامیة رؤیة معاصرة | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 16 فروردین 1405 | ||
| نوع مقاله: المقالة الأصلية | ||
| شناسه دیجیتال (DOI): 10.22081/ihc.2026.73886.1109 | ||
| نویسندگان | ||
| امیر بهادر رستمي* 1؛ سعید طاووسي2؛ عثمان یوسفي3 | ||
| 1عضو قسم المعارف في جامعة بقية الله (عج) للعلوم الطبية | ||
| 2أستاذ مساعد في قسم الفلسفة والكلام الإسلامي في جامعة العلامة | ||
| 3أستاذ مساعد في قسم تاريخ الإسلام في كلية القرآن والحديث جامعة الأديان العالمية بطهران فرع سنتدج | ||
| تاریخ دریافت: 08 دی 1404، تاریخ بازنگری: 02 اسفند 1404، تاریخ پذیرش: 14 تیر 1405 | ||
| چکیده | ||
| تتناول هذه الدراسة دور النساء في تطوّر الموسيقى في الحجاز خلال العصر الأموي (۴۰–۱۳۲ هـ)، باعتماد منهج تاريخي وأسلوب وصفي تحليلي، ومن خلل مراجعة المصادر التاريخية. تبحث الدراسة في النشاطات الفنية والتعليمية والاجتماعية لفئتين رئيسيتين من النساء، هما الجواري والمغنيات. فالجواري، اللواتي كنّ يُنقلن في الغالب من الأقاليم المفتوحة إلى الحجاز، استُخدمن كأداة لتعزيز المشروعية السياسية للخلفاء الأمويين عبر أدائهن الموسيقي في البلاط، وتعريفهن بالآلات الموسيقية مثل العود. أما المغنيات، فكنّ يحضرن المجالس العامة في مكة والمدينة، ويسهمن في نشر الموسيقى المحلية والتفاعل الثقافي مع المناطق المجاورة. وكانت الصلات والدعم المالي للخلفاء من جهة، والاعتراضات الدينية من جهة أخرى، قد جعل موقع النساء مذبذباً بين القبول والإقصاء الاجتماعي. من النتائج المهمة التي خرجت بها هذه الدراسة الدور التعليمي لهؤلاء النسوة في تربية الأجيال اللاحقة من الموسيقيين، وتأثيرهن في الأساليب الموسيقية في العصر العباسي. وعلى الرغم من القيود البنيوية، استطاعت النساء إثراء التراث الموسيقي الحجازي من خلال مزج عناصر الثقافة الإيرانية والرومية والعربية ، كما عملن كوسيطات ثقافيات بين الحضارات. وتكشف هذه الدراسة عن الحاجة إلى إعادة النظر في المكانة الجندرية داخل التوريخ الموسيقي الإسلامي. | ||
| کلیدواژهها | ||
| النساء؛ موسيقى الحجاز؛ الدولة الأموية؛ الجواري؛ التبادل الثقافي | ||
| عنوان مقاله [English] | ||
| The Role of Women in the Development of Music in Hijaz during the Umayyad Period | ||
| نویسندگان [English] | ||
| Amirbahador Rostami1؛ saeed tavoosi masroor2؛ Othman Yousofi3 | ||
| 1Faculty Member, Department of Islamic Studies, Baqiyatallah University of Medical Sciences, Tehran, Iran. | ||
| 2Assistant Professor, Department of Islamic Philosophy and Theology, Allameh Tabataba'i University, Tehran, Iran. | ||
| 3Assistant Professor, Department of Islamic History, Faculty of Qur'an and Hadith, International University of Islamic Denominations, Sanandaj Branch, Iran. | ||
| چکیده [English] | ||
| Abstract The period of Umayyad rule (40–132 AH / 661–750 CE) represents one of the most decisive eras in the history of Islamic civilization, marked by the geographical expansion of the caliphate, profound social and cultural transformations, and the emergence of new urban institutions. During this period, the Hijaz—particularly Mecca and Medina—as major religious and cultural centers, witnessed an unprecedented flourishing of musical activity. Contrary to the common image presented in some traditional narratives, which portray music as a marginal or exclusively courtly phenomenon, historical evidence indicates that music occupied a prominent place in the urban and ceremonial life of Islamic society during this era. Within this process, women played a fundamental and multifaceted role. This study seeks to answer the question of what role women, as active agents despite prevailing social and religious challenges, played in the production, education, and transmission of music in the Hijaz during the Umayyad period. Drawing upon historical and literary sources and employing a historical, descriptive, and analytical methodology, this study argues that the transfer of the center of the caliphate to Damascus expanded Muslim interactions with Persian, Roman, Byzantine, and Egyptian cultures. These contacts facilitated the transmission of knowledge, arts, and various techniques. In the Hijaz, which enjoyed both a unique spiritual status and a degree of distance from political conflicts, a relatively favorable environment for artistic growth emerged. The Qurashi aristocracy and affluent urban classes organized literary and artistic gatherings in which music constituted an integral component. Within this context, women—both free and enslaved—emerged as major actors in the musical sphere. Women active in music during this period may generally be divided into two principal categories: jawari (slave women) and mughanniyat (professional female singers). The jawari were predominantly slave women who resided in the courts of caliphs or the households of aristocrats. Many of them had been brought to the Hijaz from conquered territories, particularly Persia and Byzantium, and possessed rich artistic and musical traditions. These women often received extensive musical training, and their skills significantly increased their economic and social value. In contrast, the mughanniyat were free women who performed in public and private gatherings and, in some cases, trained students themselves. Despite their differing legal and social status, both groups played a crucial role in shaping the musical traditions of the Hijaz. One of the most significant dimensions of women's activities during this period was their educational role. Numerous historical sources refer to women who were not merely performers but also accomplished music teachers who trained both male and female students. Instruction was typically conducted within private and informal settings and relied heavily upon the oral transmission of melodies, musical modes, and poetry. Such informal educational networks ensured the continuity and development of musical traditions. By establishing domestic circles of instruction, women effectively created artistic "schools" that operated outside formal and male-dominated institutional structures. These methods of knowledge transmission later provided an important foundation for the systematization of music during the Abbasid era. The expansion of Islamic territories introduced new elements into Arab music. Persian slave women brought with them musical modes, melodies, instruments such as the more developed form of the oud, and more sophisticated melodic techniques. Byzantine influences are likewise evident in vocal and rhythmic structures. Female musicians, owing to their position within courts and aristocratic households, stood at the forefront of this cultural exchange. By integrating indigenous Arab traditions with imported elements, they developed new musical styles that moved beyond the simplicity of earlier Bedouin melodies toward more complex and refined artistic forms. These innovations laid important foundations for the emergence of music theory in later centuries. Despite this flourishing environment, female musicians also faced significant restrictions and opposition. Certain religious currents regarded music as an act of frivolity and disapproved of women's participation in artistic gatherings as contrary to public morality. Furthermore, slave women possessed no legal ownership over either their artistic productions or their earnings, both of which belonged to their masters. Nevertheless, through the patronage of aristocrats and caliphs and by relying upon their professional expertise and personal reputation, many women succeeded in securing a recognized social position. Some attained such prominence that their names were preserved in historical sources as distinguished artists, a clear indication of their social influence. Women adopted several strategies to ensure the continuity of their artistic activities. First, they emphasized professional skill and specialized knowledge, thereby becoming valuable assets for royal courts. Second, they established networks of support among aristocrats and literary figures, which strengthened the social legitimacy of their work. Third, they employed literary and ethical themes in their poetry and performances, thereby reducing religious sensitivities toward music. These measures contributed to the perception of music not merely as entertainment but as an art associated with culture, refinement, and learning. The achievements of women during the Umayyad period exerted a lasting influence on the development of music throughout the Islamic world. By consolidating performance traditions, expanding the range of melodies, and transmitting diverse cultural experiences, they created the conditions necessary for the flourishing of scholarly and theoretical music during the Abbasid period. Many renowned Abbasid musicians inherited, either directly or indirectly, traditions and schools that had originally been established by women during the Umayyad era. Moreover, their role in normalizing women's participation in artistic life provided an important model for subsequent generations. | ||
| کلیدواژهها [English] | ||
| Women, Hijazi Music, Umayyads, Slave Women, Cultural Exchange | ||
| مراجع | ||
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