Chapter 5 starts with the definitions of the note and the acoustics of sound production. Here, I first examine the acoustical underpinnings of the classical Greek writings on the subject and the impact they had on how the musical note was conceptualized. I then demonstrate that scholars of the medieval Islamic world approached their received wisdom with a skeptical eye and occasionally disagreed with their intellectual masters. These disagreements resulted in illuminating conversations about the nature of a musical note, how it should be differentiated from mere sound, and what role do acoustics of sound production play in these discussions.

Chapter 1 will examine the ontological and epistemological questions surrounding music in the knowledge system of the medieval Islamic world by exploring the philosophical system of Ibn Sina and his later followers, all of whose works laid the foundations for scholars of music in the centuries to come. In particular, I will address how mathematics was conceptualized vis-à-vis the cosmology of the falsafa tradition as the discipline that examined the existents whose existence was dependent on physical matter but could be conceptualized without the said matter. Through this conceptualization of music and mathematics, scholars of music were able to broaden their subject matter to cover topics from the melodic modes in vogue in their time to the poetics of music. At the same time, since everything in the universe was connected to one another, music was linked with many other scientific disciplines such as astronomy and medicine.

Chapter 6 discusses the definitions of ratios and intervals as different ways of conceptualizing the relationship between musical notes. Here, the author’s main interest lies in the two different ways in which the ancient Greek scholars of music, the Pythagoreans and the Aristoxenians, conceptualized the relationship between any given two notes. While the former understood notes as equal to numbers and thus conceptualized the relationship in the form of a numerical ratio, the latter understood them as points on a continuum and thus perceived the relationship as a geometrical distance between the two points on a scale. A third group of Greek scholars, the later Neoplatonic scholars, tried to reconcile the two approaches into a synthesis. It was this synthesis that Islamic scholars inherited during the medieval period.

Chapter 7 will examine the question of consonance and dissonance of musical ratios and intervals in the medieval Islamic world and the growing importance of the human soul in the discussions pertaining to this question. The Pythagoreans, having conceptualized the relationship between two notes as a numerical ratio, insisted that the key to consonance and dissonance lay in the mathematical neatness of these ratios. The Aristoxenians, however, insisted that consonance and dissonance were a matter of human experience. A third group of synthesizers emerged that aimed at reconciling the two approaches: Neoplatonic philosophers. Inheriting the works of these philosophers, scholars of music in the Islamic world set about the task of explaining the mechanisms of apprehension of consonance by human ears according to mathematical rules. In this process, the role of the soul as the link between humanity and the cosmos – with its mathematical underpinnings – gradually grew in emphasis.

A detailed analysis of Strauss’s first substantial commentary on a writing of Alfarabi, titled “Fârâbî’s Plato,” is provided in Chapter 3. This rather obscure, yet fundamental writing of Strauss contains some of his most important ideas about Alfarabi, his relationship with Plato’s philosophy and religion, Alfarabi’s view on esotericism, and what he later calls zetetic philosophy.

A detailed examination of Strauss’s interpretation of Alfarabi’s summary of Plato’s Laws is the subject of Chapter 4. Strauss’s complex article on Alfarabi’s summary, which complements his earlier “Fârâbî’s Plato,” has received minimal attention. The original manuscript of Strauss’s article, found among the Leo Strauss Papers, can substantially improve our understanding of this text and provide the opportunity for a more detailed commentary: The paragraphs of this manuscript are numbered, and contain headings which are absent in the published version of the article. My interpretation of this article will take these aspects of the original manuscript, as well as Strauss’s other writings and correspondence on Alfarabi and his course transcripts, into account.

Discourse about justice assesses what each person’s share in the accomplishments of humanity should be. This is a sufficiently abstract characterization to accommodate differences in usage of terms such as justice, justitia, dikaiosunê, etc. Yet it is characteristically human that we construct and maintain things together. Plato’s world is limited to city-states, but Plato gives us the idea of each doing/having their own as a core idea for determining each person’s share in common accomplishments. “To each their own” reason also plays a role in the work of al-Fārābi. But the range of interpretations of that idea becomes visible through the Nazi appropriation of the slogan. Another point of orientation is Aristotle’s distinction between distributive and corrective justice. From Cicero, finally, we get the thought that reflection on each person’s share might involve reflection on concentric circles of involvement.

In contrast to the dearth of discussions about visual images in the first centuries of Islam, discussions of music abounded, often incorporating discourses inherited from Greek antiquity. Chapter 2 considers how juridical discussions of music reflected antique traditions of inward mimesis. Inheriting aspect of Eastern Roman music theory, discussions generally distinguished between theory and performance, affectivity and entertainment. Inheriting the Pythagorean–Platonic tradition, theorists emphasized the capacity of music to engage with the harmonies between the universe and the body that enabled its therapeutic and curative capacities. Music and instruments could be characterized through an iconography of sound. Music needed to be treated with caution due to its association with forbidden practices such as drinking and licentiousness. Yet it was also recognized as facilitating transcendence by opening the heart to the workings of the divine. Both aspects became central to literary gatherings devoted to the ritualized recitation of poetry with music, wine, food, and real or imaginary gardens. The centrality of music in the Islamic intellectual corpus undermines the oculocentrism of art history, offering instead a field of multimedial perceptual culture.