^{page 349 note 1} Al-Hilāl, xxviii, 214.

^{page 349 note 2} Historical Facts for the Arabian Musical Influence, 307–11.

^{page 349 note 3} No. 220, 4.

^{page 350 note 1} In his article on “La Musique en Espagne” in Lavignac's, Encyclopédie de la Musique, tome iv, 1922Google Scholar, published in 1920, he says: “Seizième siècle” and adds: “Une semblable coïncidence ne résoud pas le problème, et il faudrait une étude plus complète et approfondie de cet intéressant document, avant de se hasarder à prononcer une conclusion.”

^{page 350 note 2} The Influence of Music: From Arabic Sources, 18.

^{page 351 note 1} See my History of Arabian Music, 70, and Historical Facts for the Arabian Musical Influence, 241, 307–11.

^{page 351 note 2} Also written dhīl and dhail elsewhere.

^{page 351 note 3} The text has by mistake.

^{page 352 note 1} A marginal addition.

^{page 352 note 2} Read from left to right.

^{page 352 note 3} The text has but read .

^{page 353 note 1} The text has (J).

^{page 353 note 2} In the text, this phrase , through a slip of the copyist, is repeated.

^{page 353 note 3} A marginal addition.

^{page 353 note 4} The text has an omission mark here, but there is nothing to correspond in the margin, and there does not appear to be a hiatus in the matter dealt with.

^{page 353 note 5} The ramal poetic metre has no connection with the ramal musical mode.

^{page 354 note 1} or .

^{page 354 note 2} ?

^{page 355 note 1} Meaning, shift the finger until it is in tune with the open ramal string.

^{page 355 note 2} The note of the dīl (= C) is called the “old man” (shaikh) whilst its octave on the ḥusain string is named the “young man” (shābb). The old classical names for these were sajāh (shuḥaj) and ṣiyyāḥ respectively.

^{page 355 note 3} The text has, owing to the marginal correction, got slightly mixed here. It reads as follows:

, ( margin)

“Then between the dīl and the māya (is the interval of a tone, and between the māya and the ramal) and the ramal and the ḥasain the interval of a fourth, and between the ramal and the ḥusain the interval of a tone. Then the ratio of [the dīl] to the ramal is like the ratio of the māya to the ḥusain.”

The words in brackets are from the margin, and clearly the words that follow are redundant. I have made the translation agree with my revision of the text. The word ṭani is rather unusual. The general term is ṭanin.

^{page 356 note 1} There is a folio or folios missing here. This is a great loss, because an author is mentioned whose name would, to some extent, have aśsisted in fixing the date of the author of the MS.

^{page 356 note 2} Only five out of the six are named, the missing one being, it would seem, 'irāq al-'ajam.

^{page 356 note 3} Cf. zaukand (Ibn al-Khaṭīb), zīrāfkand (Ṣafī al-Dīn 'Abd al-Mu'min), and zīrakghanḍ (below).

^{page 357 note 1} The text has ṭabā'i' (“natures”), but ṭubū' (“elements”) is intended.

^{page 357 note 2} The text has ṭubū' (“elements”) but principal modes ('uṣūl) is intended.

^{page 357 note 3} The text has in place of .

^{page 357 note 4} The text contains no figure of this “tree”. There is a “tree” with “branches” showing principal and branch modes according to the Eastern Arabian musical system to be found in a Bodleian Library MS. (Ouseley, 106). See my Arabic Musical MSS. in the Bodleian Library, p. 17.

^{page 358 note 1} See Weir, T. H., The Shaikhs of Morocco in the Sixteenth Century, p. 149Google Scholar.

^{page 359 note 1} As pointed out above, the name of this author has been crossed out and an interlineal note added which says: “Bather by the shaikh, the faqīh, Sīdī 'Abd al-Wāḥid al-Wanshirīsī.”

^{page 359 note 2} Ṭabā'i'. These are the same aa the “humours” (akhlāq) of Al-Kindī, Al-Mas'ūdī, and the Ikhwān al-Ṣafā'.

^{page 359 note 3} Ṭubū'.

^{page 359 note 4} Naghma.

^{page 359 note 5} Ṣaut.

^{page 359 note 6} It is vocalized with fatha but the other treatises, and present day pronunciation, have dhīl or dīl.

^{page 359 note 7} Murattil.

^{page 360 note 1} Laḥn.

^{page 360 note 2} . A play on the preceding word raṣd.

^{page 360 note 3} A marginal note gives a different line, which reads: “And its 'Ushshāq take, it has gone up, and the singing has become light.”

^{page 360 note 4} . Word of text doubtful.

^{page 360 note 5} Here a marginal note has been added which runs: “Pray and beg for peace, in the beginning, for him [the Prophet Muhammad] who was sent to created things.” This was due to the author's neglect to include the customary pious invocations.

^{page 360 note 6} A marginal note says: “And do not forget in its time the morning draught.”

^{page 362 note 1} Ṭubū'.

^{page 362 note 2} Ṭibā'.

^{page 365 note 1} The text has thaqīlat al-munfaṣilāt, which is an error.

^{page 365 note 2} Kosegarten, , Lib. cant., 61–2Google Scholar.

^{page 365 note 3} Vloten, Van, Liber mafātīh al-olum, 244Google Scholar.

^{page 365 note 4} Brit. Museum MS., Or. 2361, fol. 226.

^{page 365 note 5} de Vaux, Carra, Le traité des rapports musieaux, 48Google Scholar.

^{page 366 note 1} The correspondences refer to the Maghribī lute described in the Ma'rifat al-naghamāt al-thamān treatise.

^{page 366 note 2} Host, , Nachrichten von Marokos und Fes (1781)Google Scholar, Tab. xxxi.

^{page 366 note 3} Salvador-Daniel, , La Musique arabe (1879), 81Google Scholar. Lavignac, , Encyclopèdia de la musique, v, 2924Google Scholar.