في الخيال المتعالي بوصفه مبدأ الانشاء الموسيقي عند الفارابي
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Abstract
This article explores the concept of "transcendental imagination" as the foundational principle of musical composition and creation in Al-Farabi's aesthetic philosophy, specifically within his seminal work Kitab al-Musiqa al-Kabir (The Great Book of Music). Al-Farabi refutes ancient Pythagorean and mythical accounts that attribute musical genesis solely to divine inspiration, innate genius, or passive inheritance detached from scientific knowledge and technical training.
The author demonstrates how Al-Farabi synthesizes imagination with science and technique. Rather than being a mere reproductive faculty, imagination functions as a constructive power that structures melodies according to objective and natural laws. Furthermore, the study details Al-Farabi's distinction between the "execution of melody" (adā' al-laḥn) and the "formulation/composition of melody" (ṣīghat al-laḥn), emphasizing the role of sensory experience, practice, and rational principles in defining the "accomplished musician
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