See discussions, stats, and author profiles for this publication at: https://www.researchgate.

net/publication/351543565

Al-Farabi’s philosophy of music “The Legality of Music”

Article in Central Asian Journal of Art Studies · March 2021

DOI: 10.47940/cajas.v6i1.318

CITATIONS READS

2 3,878

2 authors, including:

Nurfer Tercan
Al-Farabi Kazakh National University
14 PUBLICATIONS 7 CITATIONS

SEE PROFILE

All content following this page was uploaded by Nurfer Tercan on 01 September 2021.

The user has requested enhancement of the downloaded file.

 PHILOSOPHY OF ART

AL-FARABI’S
PHILOSOPHY
OF MUSIC:
CSCSTI 18.07
”THE LEGALITY
UDC 18:001.11
DOI 10.47940/cajas.v6i1.318 OF MUSIC“
Gulzhikhan Nurysheva1,
Nurfer Tercan1
1
Al-Farabi Kazakh National University (Almaty, Kazakhstan)

Abstract. This article’s approach is to acquire Al-Farabi’s point of view on the philosophy of music.
Under the heading of Farabi’s music philosophy, we determine that music is not just about art
and entertainment. For this reason, he carried the theme to a higher level in terms of science and
philosophy with his proof method studies. First of all, we aimed to discover the traces of Farabi’s
inquiry method from his works. A philosopher and musician, Abu Nasr Al-Farabi, wrote on the perfect
city, logic, astronomy, linguistics, politics, mathematics, geometry, medicine, optic, philosophy,
and music, known as the ‘second teacher’, the first being Aristotle. This investigation contributes
to practical and theoretical music proposing formation in the context of correlation. From this
perspective, a musical system’s consistency level relies on a sense-perception, a method of relevant
indications within other comparable and correlated systems. This inquiry analyzes correlations’
10
modalities, exploring their general and particular attributes and their operational bounds. This article
evaluated the description of meaning from one cognitive domain to another mental part, such as
from mathematics to music or astronomy or psychology correlated with music science. Approaching
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1

music science with dimension and paradigm determined the requirement for detailed music research
in science and measurement criteria. His book ‘Ihsa’, which describes the nature and enumeration
of science in philosophy and science classification, was recognized in the Middle Ages. However,
‘Musiqa’ tops the list of Arab theoretical studies and has had a remarkable impact on later Arab
music theory.
Keywords: Al-Farabi, Music. Philosophy of Music, Sociology of Music, Music Culture, Psychology
of Music, Neuro Musicology, Musicology, Music Theory.
Cite: Nurysheva, G., Tercan, N. (2021). “Al-Farabi’s philosophy of music: “The legality of music”,
Central Asian Journal of Art Studies, 6(1), 10–26. https://doi.org/10.47940/cajas.v6i1.318

In t r o d u c t i o n in medieval Islam. The philosophy

concerning music is separated from

I n this general work, we focus on the

thoughts that form the philosopher’s
music to understand the scholars’
the concept referred to as music theory.
During this time, the music theorist
takes care of matters like the elements of
perspectives and ways of thinking music: tone, intervals, melody, rhythm,
modes, transitions, composition, musical first meaning is awareness, and it is the
instruments and their use in the theory first moment when creation recognizes
and performance of music. We see itself. Word, sound, light and thought are
a medieval music philosopher that answers highly interdependent. Because each is
questions about the nature of theoretical the frequency to the others, the scope of
science, which dominates the music and each other, intertwined in neurological,
its origin, the theoretical and practical philosophical and theological contexts.
or practical sides of music, the location Before the beginning of time and space,
of music. Alternatively, again, music or the absolute and perfect universe existed
harmony is the concord of several different with the knowledge of ‘life’. The epistemology
things blended into one. Al-Farabi raised and philosophy of science also existed with
most of his philosophy and theory on their inquiries on this thought and formed
Greek philosophers such as Aristotle, the whole world of thought.
Pythagoras and Plato. Furthermore, they Al-Farabi’s Kitab Al Musiqa Al Kabir
are thought to have made progress beyond involves a wide range of experience,
their contribution and not disclosing the observation in philosophy, along with proof
uncertain, agreeing or choosing from theory. However, the great book explains
different ideas. He uses the practical music the importance of induction in the most
of his time in the Arab Empire as source systematic and detailed approach.
data to understand what is ‘natural’ in Al-Farabi provides more specific information
music. He lived just after the early Abbasid on the role of experience in astronomy.
period of Islamic civilization (750–847 AD) He writes that the situation of musical
(M. S. 872–950). He was educated at the science agreement with other sciences.
House of Wisdom (recognized as the first Many of the principles are acquired through
known university), especially in Baghdad, sensitivity experience, as in astronomy,
by several Greek authors who were optics, medicine and other sciences.
recently translated into Arabic. In music,
he pioneered the mathematical calculation Methods
of intervals. To strengthen his arguments,
Al-Farabi studied music with other sciences This research is a qualitative study using
such as astronomy, physics, mathematics, library data. The method used in this 11
geometry and medicine. It is not mainly research is interpretative analysis with
at the heart of logic science, and in doing content inquiry techniques, that is,
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1
so, it gives an idea about the method and analyzing the text of the works associated
epistemology. Al-Farabi had aspired to with Al-Farabi’s thought in both primary
understand his first existence. One of the and secondary data by conducting a form
main topics that Al-Farabi addressed in of books, journals, and previous results
the first introductory section of Musiqa research. Besides, data analysis was made
concerns specific sciences’ epistemological by distinguishing one concept from other
foundations. concepts to obtain the desired data.
In the beginning, was the ‘Word’…
So what was the beginning of the word? Results
Was the world a brief moment outside of
our time? The real question must be, did The research results are the resolutions
it happen long before the dawn of time? of Kitab al Musiqa regarding the impact
Logos does not just mean ‘word’ in the of music on science and support our
language of the Greeks. It also includes inquiries. Farabi compared the thoughts of
the meaning of ‘sound’. Word or sound is the previous philosophers in music, which
vibration and motion that is amplified. Its is cited as an essential subject. Al-Farabi
 tried applying Aristotle’s methodological the Islamic intellectual tradition, Farabi’s
ideas to specific sciences such as music assumption is notable, and Ibn Sina also
and astronomy. This study based on his joined later to Farabi’s views.
general approach to the classification Music review, research authors have
of the sciences. Al-Farabi apprehends written exceptional works, making
that the human ear can be unreliable particular reference to themes written by
from time to time. Infrequently people past authorities. They also wrote their life
experience pleasure following perfections stories, citing stories and legends about
of what is not the natural course for various wise men’s musical works. While
man. One of Al-Farabi’s main issues in some research writers cite Al-Farabi as
the first introductory section of Kitab al an authority based on his texts, others
Musiqa concerns the particular sciences tell the story of the musical performance
epistemological foundations. To strengthen that is not included in any of his known
his arguments, Al-Farabi compares music writings, making people laugh, cry and
to other sciences such as astronomy and fall asleep at court. During our research
medicine, and by doing so, provides insight on Al-Farabi’s music philosophy, we could
into their method and epistemology. access this whole story in only one author’s
Farabi’s advice to approach this science of work. Many authors and researchers do
music reminded us that we should examine not mention the source and reference that
the relationship between astronomy, contains this history that has told.
mathematics, geometry and physical
sciences with music. Understanding Music and Cosmology in
Al-Farabi’s Philosophy
Discussion Al-Farabi begins by identifying the method
necessary to structure his first principles,
Farabi’s division of music clearly dividing them into various categories and
theoretically and practically, with all the creating a system. His work ‘Ihsa al-ulum’
established inclusions and exclusions we has been the prime tract for all eras as the
have discussed, actually formed a tight sciences’ classification methodology. In this
hedge against Kindi’s Pythagoreanism labour, he scientifically emphasized music
12 and others like him in the Islamic within the scope of the sciences. All these
tradition. The principal theorists main explanations to the sciences classification
difference was that Al Kindi went deeply belong to ‘al-Musiqa’ and ‘Ihsa al-ulum’.
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1

into Pythagorean speculations on the “Here is the Escorial text of the

harmony of the spheres, whereas Al-Farabi section on the Him ‘al-musiqa’ in the
and confined themselves to consonance Ihsa al-ulum of Al-Farabi: And as for the
theory and its corollary, the division of Science of Music, it comprises, in short,
the octave. Al-Farabi’s purpose is not to the investigation into the various kinds of
react strongly to the theory of music in melodies, and what they are composed of,
Pythagoras. Farabi’s aim is to prove why and for what they are composed, and how
he did not accept the theory of music they are composed, and in what forms it
that Pythagorism defended. Farabi was is necessary that they should be in order
inspired by Aristotle’s distinction between that the performance of them be made
theoretical and practical aspects of all more impressive and effective. And that
research before him. He is a loyal follower which is known by this name [i.e. ‘music’]
of Aristotle; therefore, Farabi developed it in comprises two sciences. One of them is
his philosophical thought system, adopting the science of practical music, and the
this method. In this case, if one were second is the science of theoretical music”
pursuing Pythagoreanism’s history within [1, pp. 571–572].
 If one found a paradigm case of seeing, the Second Teacher. Not only did he
it would be better to regard as such, write works in which he discusses the
not the visual apprehension of intensity classification, status, and method of
applications. Still, things like seeing what the philosophical sciences (including
extent it is, seeing what key a piece of astronomy) as in ‘Ihsāʾ, Burhān, and
music is written in. Mūsīqā’ but Al-Farabi’s own attempt at
“Al-Farabi also states that matter is providing a cosmological synthesis betrays
receptive to form: it does not exist without a similar concern for harmonizing the latest
the form. Al-Farabi states matter must astronomical findings of the age with
receive forms to exist; otherwise it will be the main principles of Aristotelian physics
a privation in actuality, that is, it will not [3, p. 36].
exist. Although it was potentially (in the Al-Farabi hypothesizes that the celestial
sense of possibly) lacking in existence, nature may be reducible to the celestial
when matter receives form, it becomes souls responsible for causing the motions
substance. Therefore matter includes the that produce the powers that emanate from
potentiality to receive form. The material the world of generation and corruption. The
elements thus form part of a thing’s primacy of the soul can perhaps explain this
quiddity. Al-Farabi’s use of the root j-s-m feature.
in the active participle of the Fifth Form “Its utility [lies] in tempering the
mutajassim, the form that means making character of living beings that digress from
into a body, graphically illustrates his the mean (ægualitas) and in perfecting
definition” [2, pp. 79–80]. the fitness of those that have not yet been
The Enumeration of Sciences is, to some perfected, and in maintaining those that
extent, the most essential for understanding appear [to possess the] mean (æquales) and
Al-Farabi’s philosophy of other sciences, have not yet gone to any of the extremes
which is a copy of ancient artefacts. Hence [in digressing from the mean]. It is also of
arithmetic is the science of numbers. Music is utility to bodily health whenever the body is
the differentiating of sounds and the diversity weakened by a languid soul and is impeded
of voices. About encore, music or harmony by the existence of its own impediment.
is the consensus of several different things Thus the cure of the body is affected by the
blended into one. Al-Farabi highlights the cure of the soul through the adjustment of 13
application of Aristotle’s methodological its own constitution, and combining this
ideas to the sciences such as music and with its own substance by means of effective
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1
astronomy. He understood the significance sounds, such as concordant [sounds]”
of the inductive approach and experience, [4, p. 49].
especially in searching for the first principles, Utilizing Aristotelian’s concept of time,
and reflected in his profound understanding of Al-Farabi easily conceives it impossible to
the relationship between practice and theory. show that the creative action is untimely,
“It is this latter aspect in the that the universe did create unbeginning
development of ilm al-hayʾah that is and never-ending. However, even in this
relevant to our analysis of Al-Farabi’s way, it points to Al-Farabi’s awareness of
cosmology, since this particular endeavour the radical possibility that its formation
on the part of Arabic astronomers overlaps doctrine requires the universe.
with the early history of falsafah. Indeed, In his treatise The Principles of
both groups reflected on the relation and Existing things, Al-Farabi divided six types
interactions between the various sciences of bodies on which accidents subsist in six
and on the principles of the astronomical major levels: “The principles by which
discipline in particular. Now, this is the six types of bodies and accidents subsist
a question that also preoccupied are divided into six major levels, each one
 comprising a single kind. The First Cause effects of the scope of Islam. It is also
is in the first level. The secondary causes a result of the discovery of new cultures.
are in the second. The Active Intellect is in “The centrality of music in early Islamic
the third. The soul is in the fourth. Form discourses contrasts with the marginality
is in the fi fth. Matter is in the sixth. In the of images. Music’s proponents and
first level there cannot be many but rather detractors both described it through a
only a single one. In each of the other cosmology of similitudes, ranging from
grades” [5, pp. 81–82]. our internal experience to the physical
The heavenly bodies do not accept world, the universe, and the divine. Its
contrary forms; they cannot be caused by therapeutic, spiritual, sinful, divine, rational
the same potential element that composes and irrational effects exceed the physical
sublunary beings. Contrariety and potency experience of audition. The symbolic role
influence sublunary substrates, although that the modern episteme assigns to the
the celestial substrates are affected by outward, visual image may have been
neither. To answer this question, we must addressed by inward musical apprehension
consider Al-Farabi’s theory of emanation in the Islamic realm. Yet music lies in the
which symbolizes his cosmology. Heavenly blind spot of art historical oculocentrism”
bodies do not convey anything to the [7, p. 57].
existence of the tenth intelligence. Below The mathematical literature of astronomy
are the material world of four elements (fire, is modified to inquiring problems that
air, water and soil), form and substance, require observations, calculations, and
and change. Al-Farabi provides more than measures, such as the conditions, sizes, and
one way to notify about emanation. distances of the planets. Nevertheless, it is

“God = the First (al-Awwal) (The Necessary Being)

The following intellects are emanated from the Necessary Being
First Intellect (‘aql): The second Existent:
The Soul and Body of the First Heaven (Al Sama’al ‘Ula)
Second Intellect Fixed Stars (al-KawakibThabita)
Third intellect Sphere of Saturn (Zuhal)
14 Forth intellect Sphere of Jupiter (Al-Mushtari)
Fifth intellect Sphere of Mars (Al-Marreekh)
Sixth intellect Sphere of the Sun (Al-Shams)
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1

Seventh Intellect Sphere of Venus (al-Zahra)

Eighth Intellect Sphere of Mercury (‘A tared)”
[6, p. 119].

The Legality of Music clear that the inquiry into invisible things,
The philosophers and scientists of the e. g., the causes of the celestial bodies,
Middle Ages Islamic geography led many cannot be carried out through mathematics
science branches such as geography and since the philosopher is dealing in this case
cosmology, astronomy, mathematics, with entities that cannot be perceived and
and philosophy. They have profoundly measured.
influenced the scientific disciplines in “Below this rank, Al-Farabi goes on
Europe and discovered essential knowledge to argue, is that of those who perceive
that also profoundly influenced music. A all these things, either in their sleep or
very intense translation movement started waking state, and are able to imagine
in the Islamic world of the eighth century. them in themselves, but do not perceive
This process is one of the most significant them visually. Below this rank still is that
of those who perceive those things in their “Discussion of human communication
sleep only and express their perceptions in through music, by Al-Farabi and others,
terms of analogies, symbols, enigmas or is informed by commentaries on Aristotle’s
simulations [8, p. 90]. De anima, Poetics and Nicomachean
The law of nature, the functioning Ethics. Al-Farabi’s conception of music
of collective consciousness, is the as an art (sị nā‘a) that can engage our
characteristic of being human. It is as faculties of sense perception (hạ sāsīya),
essential to imagine voices mentally ‘in imagination (takhayyul) and intellect (‘aql)
mind’ as visualizing them in the ‘eye of is one application of Aristotle’s view that
the mind’. Everyone is compulsory to the exercise of the intellect presupposes
hear spontaneous sounds. The vibrancy of imagination, which in turn presupposes
sounds in their imagination differs between sense-perception (De anima, III,). Some
individuals. When they listen to music, musicians, Al-Farabi acknowledges, can
most people imagine various things: a merely replicate melodies they associate
singer, a rising line, a swirl of activity, with concrete material realities; others can
an impending disaster. Some of these imagine new melodies without the support
dreams seem to be a closer connection to of familiar circumstances; and the most
music than others. However, how do we complete musicians can reason about all
understand the concept of ‘intimacy’ and if the products of their imagination. According
such imagination is necessary? to Farabi, experienced listeners imagine
“For instance, lines, planes, bodies, the likely course of a melodic progression,
stars, and celestial spheres would have to which then proves itself either ‘faithful’
exist there; then movements and rotations (wafīy) or ‘deceptive’ (khātil) with respect
for these celestial spheres would [have to the listener’s expectations” [10, p. 113].
to] exist. Furthermore, sciences like the Musical art aims to create harmony with
science of astronomy and the science of sounds and clarify the universal functioning
melodies, of harmonic and non-harmonic in life. Human talent can distinguish
sounds, of medicine, of geometry, of musical phrases from each other through
straight and curved measures, of hot and the ear. Human perception can distinguish
cold things, and, in general, of active good and bad sounds between harmonious
and passive qualities, of universals and and dissonant. According to Al-Farabi, 15
particulars, and of matters and forms every theoretical art has logical and
would [have to] exist there. [These and] scientific principles.
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1
other repugnant things articulated in those “A sense organ is a potentia passiva, the
statements are such that it would take too actuation of which is due to a stimulus, and
long to mention here” [9, p. 160]. ultimately to an object. Second, when the
When we detect the intensity of sound object acts upon the sense-organ, it must
or vibrations, how does the interaction produce therein a modification which is
occur in our minds? Sound is vibration, and like to itself, and generally called sensible
the vibration is physical. We can feel sound species. In receiving the sensible species,
by touch. We are feeling the combination the sense passes from potentia passiva
of notes in music with the inner eye. How to act. Hence, when sensible species are
does our mind perceive and shape the produced in a sentient organism, they must
feeling it creates when frequencies turn produce a corresponding reaction which we
into sound waves? These questions raise call sensation” [11, p. 39].
whether the physical and metaphysical
approaches demonstrate the same Form of the Sound Waves
attention for demonstrative severity as the As a result of the order and regularity in
mathematical one. music, sound and motion, it has been
 studied as the generic principle of various from an appropriate consonance of strings
sciences to create the harmony of nature’s and a clear tone compound. The Greeks
belongings. It’s all motion and sound. included the idea in the general principle
“The Origin of Music: After noting facts of harmonization in the universe and in
like these we naturally ask how music came the human spirit. At first, Al-Farabi was
into existence. It is true that external nature sceptical of the theory of cosmic harmony.
supplies suggestions, as in the sighing “Here is what Aristotle is made to say
and whistling of the wind, the rippling and in the Kitab al-siyasa on the question of
roar of falling water, the cries of beasts, the the Pythagorean notion of the Harmony
buzzing or calls of insects and the songs of the Spheres, and musical therapeutics.
of birds ; but the influence of these on ‘And now that I have finished describing
primitive song is apparently slight. Herbert physical remedies, I am going to mention
Spencer argued that song is primarily spiritual ones. Know, that mental diseases
a form of speech, arising from the reflex are also amenable to treatment but their
action of the vocal organs under stress of treatment is carried out by means of
emotion (as a cry follows the sensation of musical instruments which convey to the
pain). More likely is the hypothesis that soul through the sense of hearing, the
music is derived from some attempt to work harmonious sounds which are created by
off surplus energy through bodily motions, the motions and contacts of the heavenly
to coordinate and decorate which rhythmic spheres in their natural motion, which
sounds, vocal or mechanical, are employed, affect the right perceptions. And when
and that what was at first only an accessory those harmonies are interpreted in human
to dancing was finally differentiated from it. language they give rise to music which
But these speculations are not especially is pleasing to the human soul, because
fruitful” [12, p. 31]. the harmony of the heavenly spheres is
Al-Farabi mentions the following represented in man by the harmony of his
information about the formation of sound own elements, which is the principle of life.
in objects in the context of the principles Hence, when the harmony of earthly music
of music: is perfect or, in other words, approaches
“The simple man is he whose imagining the nearest to the harmony of the spheres,
16 of the common form of what should be the human soul is stirred up and becomes
chosen and avoided is sound, except that joyful and strong” [14, pp. 95–96].
he has no experience of the practical things
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1

which should be known by experience. Instruments and the Human Sounds

A man is sometimes simple in one class A structure of art reflects the presence and
of things and not simple in another class. affects the listener through intellectual
The speculative and reflective virtues* acknowledgement and sound successions.
are sometimes a cause and principle for By dispatching subconscious images and
the coming into existence of the practical emotions in aural form, music can be
virtues and practical arts” [13, pp. 47–73]. classified as a form of human interaction
and influences the mind’s psychological
Harmony and disharmony in music element. As a substitute, there is an
The two words, music and harmony, analogy between music and human
always stated the same thing. The first speech, principally speech articulation.
accomplished by the scientific discoveries The intrapersonal perceptions and
that belong to universal harmony, whilst the emotional reactions towards the external
latter became the divine language of melody world are represented by alterations of
and song. The joining of the elements sound and other characteristic expressive
resembles a harmony, such as results vocal harmonies. This resemblance
makes it possible to classify the nature of the metaphysician, on comparison and
music according to emphasis. Al-Farabi’s analogy to acquire some knowledge of
‘Kitab al Musiqa al Kabir’ is considered the intelligible things that lie beyond the
the most remarkable treatise on music realm of sense perception in Musiqa. In
theory and was the most significant work its broadest sense, we learn that music
of music written up to this time as a prime disciplines convey through both speaking
encyclopedia. It is pointed in the form and writing covers as the interpretation of
of introduction, composition elements, the term musical knowledge. Here, we can
instruments and presentation. Principally conjecture that it expresses the erudition
is developed as a well-organized and acquired and identified appropriating
established theoretical-scientific thesis on rhythm, melody, movement. These
the philosophy and practice of music and definitions carry out through the subject
theory. Al-Farabi formed this introduction of sense-perception.
part as the most competent treatise in his “Excellence of idea is that a man should
corpus ‘Al Musiqa al Kabir’. have ideas or excellent ideas, i.e. that a man
“After observing that he has already should be good and virtuous in his actions,
devoted two essays to the rudiments and then that he should have ideas, and his
that he has already shown how these words, ideas, and counsel should have been
rudiments, as described theoretically, can tested many times and found sound and
be tested by the senses with the aid of an right, bringing the man, when he employs
instrument constructed for the purpose, them, to approved results” [16, p. 46].
Al-Farabi tells us that he now proposes “Now sense-perception attests to
to show how these rudiments can be the multiplicity of natural things. This
experienced on the musical instruments multiplicity is perceived through sense-
actually in use. He proposes to study each perception in two ways. First, sense-
of these instruments and show which are perception apprehends a multiplicity of
capable of producing all of the notes and natural things because the [same things] are
which can produce only some of them. dispersed in separate places; it distinguishes
Thus, he says, the reader will learn the them from each other by virtue of the
application of what has been explained different places they occupy. This, then,
in the essays on the rudiments. Similarly, is the first kind of multiplicity; it is better 17
at the end of the second essay on the known. Second, the multiplicity of natural
instruments, he writes that he has dealt in things is apprehended through sense-
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1
these two essays with the instruments that perception of a single object” [17, p. 94].
are most in use in his country, showing the The first part of Farabi’s corpus is about
notes and groups that are proper to each the nature of music, considered melody the
of them. In so doing, he has addressed music source, both vocal and instrumental,
not just other theorists, as is the practice the varieties of melody, the practical and
of some authors, but has addressed the theoretical sides of the inquiry. All this
practical musician as well. And, indeed, is said to be an introduction to the art-
the bulk of these two essays is taken up science of music. For music is an art, its
with extremely detailed accounts of a instances the continued use of sound and
variety of instruments, most notably the other elements as material. As far as we
lute” [15, p. 180]. conjecture, Farabi does not make it a logical
We also find out, says Al-Farabi, point, an issue of the description of music
that three interludes give a sense of as an art. Not only does he make it an issue
perfection or completeness of all potential for natural science, but he prefaces
combinations of notes. Al-Farabi advises the point about what science has ruled
the aspiring musical theorist to rely, like out by saying that most of the primary
 individuals for this science music exist by theory can gain only limited progress if
art and cannot exist by nature. it is not approved by reasonable practice
“As in other arts, a knowledge of the and observation. Al-Farabi synthesizes
theory of music requires that one know the Aristotelian causal knowledge with
the first principles. One must then know the neo-platonic emanations scheme in
the rules or general propositions by means theoretical philosophy.
of which one derives all of the rudiments of “In his discussion of the mathematical
the art, since a complete mastery of these sciences, Al-Farabi gives an account
rudiments, too, is essential for the theorist. of music, dividing it intothe sciences of
Finally, these rules enable one to determine practical and theoretical music. The appeal
precisely in what the art does and does of this simple division to scientists like
not consist, and they enable one to avoid Bacon is in itself quite suggestive. Lambert
error. Related to these aspects of theory preserves Al-Farabi’s distinction between
are the two remaining subjects comprising practical and theoretical music, but of
the first part of the science of theoretical Al-Farabi’s five branches of theoretical
music, both of which are discussed in the music, Lambert preserves only the second,
first pair of essays in the Grand Book: the which can scarcely have meant to him
way in which man comes to discover the anything like what it meant to Al-Farabi.
art of music and the character and training Rhythm is treated in a separate context in
appropriate to the person who would which all music is divided into that with
investigate this art” [18, p. 177]. rhythm and that without. His general
Here mentioned a short case at terms for discussing rhythm are modus and
medieval Arabic music theory and its recent mensura” [20, pp. 173–186].
accomplishments by examining Al-Farabi’s Without dwelling on the nature of
viewpoints on rhythm in Musiqa. Contrary that science extending beyond physics,
to the intended and accidental impacts Al-Farabi achieves his discussion with
left by contemporary scholarship, it is a concise indicating how the practical
apparent from the previous analysis that intellect, regarded with preference and
Al-Farabi’s viewpoints concerning rhythm choice, supports the theoretical, wherein
are harmonious, considerably definite and human perfection consists. He draws
18 unambiguously formed, and surprisingly attention to the knowledge that philosophy
intriguing as a composition and as an is the most basic system practice and
alternative way of perceiving rhythm. theory in its field. In addition to influencing
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1

“That rhythm again is determined by the audience’s feelings under the twelve
musical notes which fit in with them in maqam system, Al-Farabi also discovered
playing, the rhythm of blows of the hand a different music feature. Music performance
corresponding to the rhythm of the syllables under the twelve maqam system
of speech; and that rhythm must not vary maintained the understanding of music
from its station (martaba) if the playing is as a practice that can physically change
not to be ruined” [19, p. 53]. audiences, applying music’s recurring
feature to change humanity’s mentality.
The practical and the theoretical arts Farabi is the philosopher who forms
of music a legend that shows the musical talent
Another circumstance of attention circulated in texts about the twelve maqam
in Musiqa is the detail between the system. First, Farabi played a melody for
theoretical and practical sides of astronomy. his audience and made them spontaneously
Al-Farabi differentiates between theory and laugh, followed immediately by another
practice and values the former more than melody that spontaneously made them
the latter; he nevertheless indicates that cry, followed immediately followed by
another melody that spontaneously put mind. These reactions appeared without the
them to sleep so he could leave. This story listener’s control. The caliph’s assembly
expressed the one-to-one relationship indicates that Farabi had professional
between properly executed musical practical and theoretical knowledge of his
knowledge and the audience’s emotional expertise in music. Therefore, we anticipate
and physical response. that this may be a prime example of
“Farabi’s view of the origin of music is practical and theoretical knowledge.
in marked contrast to the one held by Kindi It can be said that the anonymous ‘Kitâbü
and the Ikhwan. According to these, human Keşfü’l-Hüm Kümve’l Kürab fî Şerhi
music originated when the Sages, and in Âleti’t-Tarab’ is the most comprehensive
certain passages Pythagoras is singled out, study of the science and philosophy
heard the celestial music and set down of music in the Farabi corpus. The only
the rules for human music. These were copy of this work is in the third Ahmed
then disseminated to others, and eventually Library Manuscript Section of the Topkapı
music spread to all. This has all the earmarks Palace Museum. This work has still been
of a myth, and we do not mean that reviewed by the British musicologist
in any negative sense. By contrast what and Arabist Henry George Farmer and
Farabi offers, to be followed by Ibn Sina J. B. Hardie in 1932.The inspirational
along rather similar lines, is a natural experience of the second master Al-Farabi,
or naturalistic explanation?” [21, p. 59]. which led to the discovery of many different
“According to Al-Farabi musical new opportunities in science, will perhaps
structures are artificial and not based be read for the first time in this article with
on nature: the Pythagorean argument the details below.
about the relations of planets and stars “Such is the opinion of the people of
producing music is based upon a linguistic Iraq, and as a result all the older authorities
misunderstanding: namely that of using used to derive the science of music (tarab)
the word ‘music’ in two different meanings. from the science of human nature; on this
Further, as early as the beginning of the basis Al-Farabi derived the science
Middle Ages Al-Farabi is fully aware of of the ‘musiqa’ and its rules by means of
differences between cultures and of the fact which he surpassed all others who wrote
that what are regarded as natural tones in on this science of music. And there is a 19
a given culture, e. g. Arabian, are ‘natural’ story about the reason for his making it.
only in this context. He even determines Al Ma’mun used to hear about Al-Farabi
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1
rather strict limits for the cultural sphere and the knowledge which Allah the Exalted
to which his musico-theorical had given him, and his understanding,
considerations about tonal relations, so he desired to meet him, wishing to test
distinctions between structural kernel him in some of the sciences in order
motifs and secondary ornamental motifs, to see his sagacity and his knowledge.
can be applied” [22, pp. 307–308]. How a strange thing had happened to
To figure out better, we can assume Al-Farabi which brought him out of his
that Al-Farabi in the caliph’s assembly is own country against his will and secretly.
the most apparent exemplary experience So he travelled night and day until he came
that draws attention to the fact that human to the city of Baghdad which was the seat
should be based on practical and theoretical of the Caliphate, and he entered the city
in achieving virtue. Farabi emphasized the in disguise so that not one of the people
need for people to acquire practical and recognized him; and he thought that he
theoretical knowledge about achieving would make his way to the Caliph in order
virtue. The fact that when people listened to to earn his favour by means of his learning
his music, some reactions realized in their and his knowledge.
 Caliph said to Al-Farabi ‘At our court that it was square, its height off the ground
you shall have the highest privilege and being less than the height of a man, while
the greatest riches, among us you shall the breadth of the circumference of its four
obtain glory, and you shall be honored sides was 12 dhira, each side being 3 dhira.
above all your peers and your fellows.’ It had 4 doors each in two leaves
Then the Caliph continued ‘Produce the and each opening and shutting; around
knowledge of which you spoke to us, and each door was a small aperture (taqa: lit.
hasten with your answer that you may be window) in which was a copper pipe going
given our generous gift.’ He answered ‘It in to the inside. On the outside of this pipe
will appear before you now.’ The Caliph was fixed a wild beast’s skin secured to it
asked ‘what things do you need to produce and folded over upon itself like a bellows
it for me?’ Al-Farabi said ‘Bring me copper with two wooden handles which were
and smiths and wood and carpenters.’ opened and closed mechanically to deliver
So the Caliph sent for them; and all who air. It was worked by men who sat blowing
were present stood silent watching him with the bellows, and others who stood
to see what he would make. And he ordered beating with the plectrum on the 4 sides
the smiths melt their copper and make it around the 4 doors. Each door has a front,
into long thin sheets, light, engraved and each front has an entrance, each entrance
ornamented; and he ordered the carpenters has a channel, each channel has a mouth
to saw the wood and to cut it into rods, and each mouth has an end to which the air
round and hollow, in two sizes thick and comes and goes round. By whichever door
thin, the thick cut eight sided and short, it enters it has no exit by which to escape,
the thin cut four sided and long. They were so it masses and collects all together and
to stand upright their heads upward and rises to the top; but finding no loophole
their tails down. And between each pair or exit by which to get out it sinks back to
of rods he fashioned a peg fixed on the bottom to go out where it came in. But
a crossbeam, twelve pegs above at the there it meets the air which has been blown
heads of the rods with the heads of the pegs in on top of it, and the pressure becomes
turned downward; and twelve similar pegs stronger and stronger. The blowing of the
at the tails of the rods also, arranged in the bellows prevents the air from sinking to the
20 same way on a crossbeam, steady and fixed bottom, and the beating of the plectrum
at the bottom so that the heads of the pegs keeps it from rising to the top, so that no
were upward standing alone. Then he took exit remains O for it, nor any movement to
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1

silken strings which he stretched across escape, but it is enclosed and can find no
the rods to right and left; and over these he way out. So it circles between the upright
rolled the sheets of copper on the outside pegs and strains at all the strings but finds
until all of them were covered with copper that they have checked all its efforts to
and the instrument resembled. (There is an escape and have driven it out of its place
omission in the Magic Seven. at this point.) and prevented all its movements to reach
Then he fastened it up and connected the its destination (i.e. outside) and made all
various pieces together, and stood it upright its efforts vain by opening the doors and
and erect like a pulpit (minbar). Some said closing the windows. So the four blasts of
too that it resembled a physician’s ointment air (i.e. from the 4 doors) are hindered in
box (marhamdan) eight sided in size and their way and circle round in that copper
dimensions. Others said that it was like box; and the pressure grows strong and
a box turned in a lathe, rounded in the the force continues to increase and to grow
cross-section and long; and yet others said and to become great until the air is confined
that it was square in length and breadth between the four doors. Then the pressure
like a coffer. But this is generally agreed; becomes too strong for it and forces it
back to the top; so it ascends and finds theory and causal powers, was never fully
12 windows which had been made adopted by later thinkers.
(in the top corresponding to the 12 hours Especially the subject of rhythm pattern,
of the day and also p to the 12 Signs of we could say it assists as a model for future
the Zodiac).” [23, pp. 79–84]. variations on the same theme, but as far
as we know, these details have never been
C o n c l u s i on deeply analyzed. Until today, we have
determined that only general studies have
This research’s result should lead to a been done on Farabi’s life and corpus from
partial re-evaluation of Farabi’s intellectual our deep library antiquities research source.
heritage in Islam based on music Despite the conciseness of Al-Farabi’s
philosophy and science. Moreover, remarks on the method of astronomy,
Al-Farabi’s attempt to harmonize physics, it is nonetheless possible to reach certain
metaphysics, and astronomy in terms conclusions based on the previous analysis.
of methodology and doctrine and the First, it should encourage us to re-examine
multilayered theory of infinite causality some aspects of Al-Farabi’s affiliation
introduced intellectual beings’ dimension. with the Aristotelian, Platonic, and
Furthermore, along with the later Arab Neoplatonic traditions. In his description
thought, it also profoundly affected of the astronomical method, Al-Farabi
Europe. In the method of studying Farabi’s appears as a quite thorough Aristotelian.
approach to cosmology and music, we It was important to access and read
applied his classification. It was primarily Farabi’s original book, which exemplifies
his work of texts in which he compared the rhythmic flow of emotions. It is evidence
the ideas of Kindi, Pythagoras, and others. of the universal law of rhythm in nature.
However, on the other hand, this model, The philosopher points out that all motion
and especially Al-Farabi’s idiosyncratic is rhythmic or wave-like.

21

Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1

Авторлардың үлесі
Г. Ж. Нұрышева – мақаланың тақырыбын және зерттеудің міндеттерін белгіледі;
зерттеудің әдістемелік құрамын әзірлеуді ұйымдастырды.

Н. Терджан – ресурстарды зерттеу, сараптау және талдау бойынша барлық

тапсырмаларды орындады; ғылыми әдебиеттерді талдау; әдеби шолуды дайындау;
мәтіннің зерттеу бөлігін әзірлеуді және пысықтады.

Вклад авторов
Г. Ж. Нурышева – определила тематику статьи и постановку задачи исследования;
организовала разработку методологической составляющей исследования.

Н. Терджан – выполнила все задачи по исследованию, приобретению,

экспертизе и анализу ресурсов; провела анализ научной литературы, подготовила
литературный обзор и исследовательскую часть текста.
 AL-FARABI’S PHILOSOPHY OF MUSIC: “THE LEGALITY OF MUSIC”

Contribution of authors
G. Zh. Nurysheva – determined the subject of the article and statement of the
research problem; arranged development of the methodological component of the
research.

N. Tercan – carried out all resource research, acquisition, examination and analysis
tasks; analysis of scientific literature; preparation of a literary review; preparation and
revision of the research part of the text.

References
1. Farmer, Henry George. “The Influence of Al-Farabi’s “Ihsa’ al-’ulum”
(“De scientiis”) on the Writers on Music in Western”, The Journal of the Royal
Asiatic Society of Great Britain and Ireland, Cambridge University Press,
accessed: 18.02.2016, No. 3, pp. 561–592.
2. Kennedy-Day, Kiki. Books of definition in Islamic philosophy, The limits of words,
Routledge Curzon is an imprint of the Taylor & Francis Group. Simultaneously
published in the USA and Canada. This edition published in the Taylor & Francis
e-Library, 2004, Part I, pp. 7–84.
3. Damien, Janos. Method, structure, and development in Al Farabi’s cosmology /
Islamic cosmology / Islamic philosophy, theology and science. Press McGill
University Brill, Global Oriental, Hotei Publishing, 2009, Chapter I, pp. 11–42.
4. Farmer, Henry George (editor and translator). Al-Farabi’s Arabic – Latin Writings
On Music *In the Ihsa’ al-’ulum (Escorial Library, Madrid, No.646) De scientiis
22
(Brit. Museum, Cott. Ms. Vesp. B.X., and Bibl. Nat., Paris, No. 9335), and De ortu
scientarum (Bibl. Nat., Paris, No. 6298), Published by The Civic Press, Glasgow,
Chapter II, 1934, pp. 35–58.
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1

5. Ginnis, Jon Mc. & Reisman David, C. Classical Arabic Philosophy (An Anthology
of Sources), Al-Farabi, 2007, pp. 54–104.
6. Al Allaf M. The Essence of İslamic Philosophy, 1957: IIC Classic Series, 2003,
Chapter II, pp. 77–128.
7. Shaw, Wendy M. K. What is “Islamic” Art? Between Religion &Perception.
Cambridge University Press, Seeing With Ear, 2019, pp. 57–78.
8. Fakhry, Majid. Al-Farabi, Founder of Islamic Neoplatonism: His Life, Works And
Influence Great Islamic Thinkers, Printed and bound by Bell & Bain Ltd, Glasgow
Oxford OX2 7AR England, 2002, Chapter VI, pp. 77–91.
9. Butterworth, Charles E. (Translated and annotated) Al-Farabi, The Political
Writings: “Selected Aphorisms” and Other Texts. Published by Cornell University
Press Ithaca and London, 2001, Chapter XII: The forms or divine models,
pp. 160–167.
10. Stephen, Blum. Ethnomusicology & Modern Music History. Edited by Philip V.
Bohlman Press University of Chicago, in the Muslim world, 1991, Chapter IV.
Foundations of musical knowledge, pp. 103–124.
AL-FARABI’S PHILOSOPHY OF MUSIC: “THE LEGALITY OF MUSIC”

11. Hammond, Rev Robert. Philosophy of Al Farabi and Its Influence on Medieval
Thought. By The Scope of Aristotle in the Book of Metaphysics, 1947, Chapter III,
pp. 35–39.
12. Pratt, Waldo Selden. The history of Music, New York, by G. Schtrmer Copy right,
Presented to the Library of the University of Toronto by Professor Harvey Olnick,
1907, Part I, pp. 25–59.
13. Dunlop, Douglas M. Fusul al-Madani: Aphorisms of the Statesman Al Madani
Fadıla, Translation, Published by Cambridge University Press, 1961, Part I,
pp. 27–78.
14. Farmer, Henry George. The Influence of Music: From Arabic Sources, Published
by: Taylor & Francis, Ltd. on behalf of the Royal Musical Association Proceedings
of the Musical Association, 52nd Sess, 1925–1926, pp. 89–124.
15. Randel Don M. Al-Farabi and the Role of Arabic Music Theory in the Latin Middle
Ages. Published by: University of California Press on behalf of the American
Musicological Society Journal of the American Musicological Society, Vol. 29,
No. 2, 1976, pp. 173–188.
16. Dunlop, Douglas M. Fusul al-Madani: Aphorisms of the Statesman Al Madani
Fadıla. Translation, Published by Cambridge University Press, Part I, 1961,
pp. 27–78.
17. Mahdi, Muhsin (Translated with an instruction). Al Farabi’s Philosophy of Plato
and Aristotle, The Free Press of Glencoe A Division of The Macmillian Company,
The Crowell – Collier Publishing Company New York, 1962, Part III, pp. 59–130.
18. Randel Don M. Al-Farabi and the Role of Arabic Music Theory in the Latin Middle
Ages. Published by: University of California Press on behalf of the American
Musicological Society Journal of the American Musicological Society, 1976,
Vol. 29, No. 2, pp. 173–188.
23
19. Hardie, J. B. Arabic Musical Instruments a ‘Magic Seven’ in the Farmer Collection
“Kitab Kashf al-Humum”, Part II, 1932, pp. 50–250.
20. Randel Don M. Al Farabi and the Role of Arabic Music Theory in the Latin Middle Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1
Ages. Published by: University of California Press on behalf of the American
Musicological Society Journal of the American Musicological Society, 1976,
Vol. 29, No. 2, p. 173–186.
21. Shehadi, Fadlou. Philosophies of music in medieval Islam. Brill’s Studies in
Intellectual History, Sahädl, Fadluh: Philosophies of music in medieval Islam
history; Vol. 67. Leiden; New York; Köln: Brill, 1995, Part I, Chapter III, pp. 50–66.
22. Tarasti, Eero. A Theory of Musical Semiotics. Indiana University Press, ‘Advances
in Semiotics’. Indiana University Press, Bloomington & Indianapolis, 1994,
p. 307–308.
23. Hardie, J. B. Arabic Musical Instruments a ‘Magic Seven’ in the Farmer Collection
“Kitab Kashf al-Humum”, 1932, Part II, pp. 50–250.
 AL-FARABI’S PHILOSOPHY OF MUSIC: “THE LEGALITY OF MUSIC”

Гүлжиһан Нұрышева, Нурфер Терджан

Әл-Фараби атындағы Қазақ ұлттық университеті
(Алматы, Қазақстан)

ӘЛ-ФАРАБИДІҢ МУЗЫКА ФИЛОСОФИЯСЫ: «МУЗЫКАНЫҢ ЗАҢДЫЛЫҒЫ»

Аңдатпа. Бұл мақала әл-Фарабидің музыка философиясына деген көзқарасын зерттеуге

бағытталған. Фарабидің музыкалық философиясының ұғымы – музыка тек өнер мен ойын-
сауық емес дегенді білдіреді. Осыған байланысты ол дәлелдеу әдістерін қолдана отырып,
ғылым мен философия тұрғысынан тақырыпты жоғары деңгейге көтерді. Авторлар ең алдымен
Фарабидің еңбектерінде зерттеу әдістерінің белгілерін анықтауға тырысады. Философ және
музыкант Әбу Насыр әл-Фараби идеалды қала, логика, астрономия, лингвистика, саясат,
математика, геометрия, медицина, оптика, философия және музыка туралы жазды және
«Екінші ұстаз» ретінде танымал болды, біріншісі Аристотель болды. Бұл зерттеу салыстыру
тұрғысынан құрылым жүйесін ұсына отырып, музыка тәжірибесі мен теориясына өз үлесін
қосады. Осы тұрғыдан алғанда, музыкалық жүйенің үйлесімділік деңгейі сенсорлық қабылдауға,
салыстырылатын және салыстырылмалы жүйелердегі белгілі бір көрсеткіштер әдісіне сүйенеді.
Бұл зерттеу корреляцияның ерекшеліктерін талдайды, олардың жалпы және жеке қасиеттерін
және олардың жұмыс істеу шекараларын зерттейді. Бұл мақалада білімнің бір саласынан
екіншісіне, мысалы, математикадан музыкаға немесе астрономияға немесе музыка ғылымымен
байланысты психологияға дейінгі мағынаны сипаттау бағаланады. Мұндай масштабтағы музыка
ғылымына көзқарас ғылымдағы музыканы егжей-тегжейлі зерттеудің қажеттілігін, сондай-ақ
өлшеу критерийлерін анықтады. Оның философия мен ғылымдардың классификациясындағы
ғылымдардың мәні мен тізімін сипаттайтын «Ихса» кітабы орта ғасырларда мойындалды. Алайда,
«Музыка туралы үлкен трактат» Араб таңдамалы теориялық зерттеулерінің тізімінде болды және
араб музыкасының кейінгі теориясына айтарлықтай зор әсерін тигізді.
Тірек сөздер: Әл-Фараби, музыка, музыка философиясы, әлеуметтану музыкасы, музыкалық
мәдениет, музыка психологиясы, нейромузыкология, музыкатану, музыка теориясы.
Дәйексөз үшін: Нұрышева, Г. Ж., Терджан, Н. Әл-Фарабидің музыка философиясы:
«Музыканың заңдылығы». Central Asian Journal of Art Studies, 2021, 6(1), 10–26.
https://doi.org/10.47940/cajas.v6i1.318
24
Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1
AL-FARABI’S PHILOSOPHY OF MUSIC: “THE LEGALITY OF MUSIC”

Гулжихан Нурышева, Нурфер Терджан

Казахский национальный университет имени аль-Фараби
(Алматы, Казахстан)

ФИЛОСОФИЯ МУЗЫКИ АЛЬ-ФАРАБИ: «ЗАКОНОМЕРНОСТИ МУЗЫКИ»

Аннотация. В данной статье дается попытка изучить точку зрения аль-Фараби на философию
музыки. Понятие музыкальная философия Фараби подразумевает, что музыка – это не только
искусство и развлечения. В связи с этим он поднял данную тему на более высокий уровень
с точки зрения науки и философии, используя методы доказательства. В первую очередь авторы
нацелены выявить признаки методов исследования в работах Фараби. Философ и музыкант
Абу Наср аль-Фараби писал об идеальном городе, логике, астрономии, лингвистике, политике,
математике, геометрии, медицине, оптике, философии и музыке и был известен как «второй
учитель», первым из которых был Аристотель. Данное исследование вносит вклад в практику
и теорию музыки, предлагая систему построения с точки зрения сопоставления. С этой точки
зрения, уровень согласованности музыкальной системы полагается на чувственное восприятие,
на метод определенных показателей внутри сравниваемых и сопоставляемых систем. Данное
изыскание анализирует особенности корреляций, исследуя их общие и частные свойства
и их границы функционирования. В этой статье оценивается описание смысла от одной области
познания к другой, например, от математики до музыки или астрономии, или психологии,
коррелирующих с наукой о музыке. Подход к музыкальной науке в таком масштабе определил
потребность в детальных исследованиях музыки в науке, а также критерии измерения. Книга
аль-Фараби «Ихса», описывающая сущность и перечень наук в философии и классификации
наук, получила признание в средние века. «Большой трактат о музыке» вошел в список
выдающихся арабских теоретических исследований и оказал заметное влияние на более
позднюю теорию арабской музыки.
Ключевые слова: аль-Фараби, музыка, философия музыки, социология музыки,
музыкальная культура, психология музыки, нейромузыковедение, музыковедение, теория
музыки.
Для цитирования: Нурышева, Г. Ж., Терджан, Н. Философия музыки аль-Фараби:
«Закономерности музыки». Central Asian Journal of Art Studies, 2021, 6(1), 10–26.
https://doi.org/10.47940/cajas.v6i1.318 25

Central Asian Journal of Art Studies Vo lu me 6 . I ssu e 1. 202 1

 AL-FARABI’S PHILOSOPHY OF MUSIC: “THE LEGALITY OF MUSIC”

Авторлар туралы мәлімет: Сведения об авторах: Authors’ bio:

Гүлжиһан Жұмабайқызы Гулжихан Жумабаевна Gulzhikhan Zh. Nurysheva –

Нұрышева – философия Нурышева – доктор Doctor of Philosophical Sciences,
ғылымдарының докторы, философских наук, профессор Professor at the Department of
Әл-Фараби атындағы Қазақ кафедры философии Казахского Philosophy, Al-Farabi Kazakh
ұлттық университеті философия национального университета National University
кафедрасының профессоры имени аль-Фараби (Almaty, Kazakhstan)
(Алматы, Қазақстан) (Алматы, Казахстан)

ORCID ID: 0000-0001-6640-8111

email: gulzhikhan-nurysheva@yandex.kz

Нурфер Терджан – Әл-Фараби Нурфер Терджан – докторант Nurfer Tercan – PhD candidate
атындағы Қазақ ұлттық 2-го курса кафедры философии of the Department of Philosophy,
университеті философия Казахского национального Al-Farabi Kazakh National
кафедрасының 2 курс докторанты университета имени аль-Фараби University
(Алматы, Қазақстан) (Алматы, Казахстан) (Almaty, Kazakhstan)

ORCID ID: 0000-0003-3482-4182

email: nurfer.tercan@gmail.com

View publication stats