A Ruling On Music Chess

There is often a tendency within Muslim circles to claim that there is unanimity of opinion supporting an outright prohibition concerning music and chess. The existing literature available in English tends to only show a very partial and at times skewed reading of the scriptural evidences. In order to broaden the discourse upon this issue, we hereby present for the first time in English, Ibn Hazm's critical analysis of this topic. Ibn Hazm was famous for his rejection that there is any clear or authentic textual prohibition relating to music or playing chess. In his unique inimitable style, Ibn Hazm critically assesses the textual evidences upon this issue, from the Qur'anic verses to the reported Prophetic statements.

Often discussions relating to the Islamic ruling upon music and chess purport to show that there is unanimity of opinion regarding its prohibition. To broaden the discourse on this point, we hereby present for the first time in English, a complete translation of Ibn Hazm's critical analysis of this issue. Famously, he argued that the body of evidence is neither soundly established nor conclusive to support a prohibition. The issue (Mas'ala) is formally titled as: 'Sales Concerning items of Amusement' and appears in the book of sales from his acclaimed work fiqh (jurisprudence), al-Muhalla bil'Athar (The Adorned Treatise). The Renascence Foundation is an independent not-for-profit organisation. We are not affiliated to any government or governmental institution. Our mission is to help revive, reinvigorate and stimulate contemporary Islamic thought by presenting in English key works and principles that have for too long laid dormant and neglected.

A Most Fascinating Journey! It has long been recognized that there are only three major areas of human endeavor which produce prodigies: music, chess and mathematics. This does not occur by happenstance. There are links on many levels. Now, for the first time, Music and Chess – Apollo Meets Caissa examines the yet unexplored relation of chess to music. Mathematics is a main common denominator, a fact that is highlighted accordingly. The thesis of this extraordinarily researched book is that chess is art in itself. It can create art and is strongly related to mathematics and music. As becomes clear, this relationship has already been introduced by some legendary players such as Mikhail Tal and Vladimir Kramnik . Great artists such as John Cage, Marcel Duchamp and Arnold Schönberg, to name but a few, have also been fascinated by the very same idea. Surprisingly, this has not been explored in detail so far – only some sporadic articles exist, by authors specializing in either music or chess. There are chapters that address issues which are specialized in chess and music, while others cover related issues of general, social and artistic nature. Music and Chess – Apollo Meets Caissa can be appreciated by readers who have a good, general, though non-specific background, in both fields. That is, no technical knowledge of music is required, with the only prerequisite to fully appreciate the text being the understanding of standard chess rules. The text could be equally enlightening to students of music or mathematics, as an added intellectual insight into these two disciplines. The text is supplemented by many chess diagrams, charts, and over 50 full-color images. So, turn on the music, set up chessboard, get out the calculator and let the author take you on a most fascinating journey that is Music and Chess – Apollo Meets Caissa.

Most music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered. Musical Performance: A Philosophical Study considers the implications of this separation for live musical performance and music-making. Rather than examining the composition or perception of music as most philosophical accounts of music do, Stan Godlovitch takes up the problem of how the tradition of active music playing and performing has been challenged by technology and what problems this poses for philosophical aesthetics. Where does does the value of musical performance lie? Is human performance of music a mere transfer medium? Is the performance of music more expressive than recorded music? Musical Performance poses questions such as these to develop a fascinating account of music today. musicians - but via some recording medium on which sound has been stored.

This book provides a new and wide-ranging study of law's normativity, examining conceptual, descriptive and empirical dimensions of this perennial philosophical issue. It also contains essays concerned with, among other issues, the relationship between semantic and legal normativity; methodological concerns pertaining to understanding normativity; normativity and legal interpretation; and normativity as it pertains to transnational law. The contributors come not only from the usual Anglo-American and Western European community of legal theorists, but also from Latin American and Eastern European communities, representing a diversity of perspectives and points of view – including essays from both analytic and continental methodologies. With this range of topics, the book will appeal to scholars in transnational law, legal sociology, normative legal philosophy concerned with problems of state legitimacy and practical rationality, as well as those working in general jurisprudence. It comprises a highly important contribution to the study of law's normativity.

Like his compositions, Milton Babbitt's writings about music have exerted an extraordinary influence on postwar music and thinking about music. In essays and public addresses spanning fifty years, Babbitt has grappled profoundly with central questions in the composition and apprehension of music. These writings range from personal memoirs and critical reviews to closely reasoned metatheoretical speculations and technical exegesis. In the history of music theory, there has been only a small handful of figures who have produced work of comparable stature. Taken as a whole, Babbitt's writings are not only an invaluable testimony to his thinking--a priceless primary source for the intellectual and cultural history of the second half of the twentieth century--but also a remarkable achievement in their own right. Prior to this collection, Babbitt's writings were scattered through a wide variety of journals, books, and magazines--many hard to find and some unavailable--and often contained typographical errors and editorial corruptions of various kinds. This volume of almost fifty pieces gathers, corrects, and annotates virtually everything of significance that Babbitt has written. The result is complete, authoritative, and fully accessible--the definitive source of Babbitt's influential ideas.

Thorough discourse and rigorous analysis, enlivened by wit, offers a classic exposition of the endgame. Commentary, statistics, and more than 400 studies have been completely revised and updated by the author.