Kitab Farsi fi Fan al-Alhan and its place and importance in 15th century music theory

A new door to music theory was opened with the work of Safi al-din Urmawi and Kitab al-Adwar fi al-musiqa, which is famous for its names. It is observed that the music writers who came after Urmawi, as followers of Urmawi, wrote their works on Urmevi's Adwar. These studies, which started with the work of Allama Qotb al-Din Shirazi and Durrat al-taj li-ghurrat al-Dabbāj at the beginning of the 14th century, were followed by Shams al-Dīn Muhhammad Āmulī and Nafāʼis al-funūn fī ʻarāʼis al-ʻuyūn, in the same century, İmad al-din Yahya Kashi and his Şerh Adwar, Hasan Kashani and Kanz al-tuhaf, Mewlana Mubarak shah Buhari and Şerh al-Adwar, Lutf Allah Samarqandi and Tarcume ve Şarh Adwar It reached its peak with Abd al- Qadir Maraghi and Jami al-Alhan at the beginning of the 15th century. It is observed that each of these writers, with their own interpretations and views, endeavored to complete the missing or empty topics in his musical theory. A valuable work that was copyrighted in these years and formed the basis of our thesis is Risala fî fann al-alhan. According to the information in the contemporary copies of the work, this work was attributed to the famous calligrapher Shahab al-din Abdallah Sayrafi, who lived in the first half of the 14th century, under the name Hulasa al-afqar fî ma'rifat al-Adwar. As a result of our research, it has been revealed that this work does not belong to Sayrafî and that the author of the work is Fakhr al-din Musewfî, who is contemporary with Abd al- Qadir Maraghi, and that he copyrighted his work a few years after Maraghi's Jami al-Alhan. The work, which forms the basis of our work, was written within the framework of classical music theory, consisting of an introduction, two parts called science, and an orator. In the introduction part, basic information is given as an introduction to the science of music. In the first and second chapters, including the theoretical dimensions of the music, the tunes of the music and the îkas that are related to the melodies are discussed. In the last part of the work, the rhetoric, the practical dimension of the music and its application and performance are mentioned. In this work, some subjects and information that are not found in Maraghi's works were found. Based on this information, it can be said that the author has made a great contribution to the theory of music with this work.