Ishaq al-Mawsili

His creation of a comprehensive theoretical system for Arab music, without Ancient Greek influence, would retain relevance into at least the 14th century, when it was championed by Ibn Kurr.

[7][n 1] Ibrahim found considerable acclaim and patronage in the capital, serving under three successive Abbasid caliphs: Al-Mahdi, Al-Hadi and Harun al-Rashid.

[6] The success of his father allowed Ishaq to be raised "among the cultured elite",[3] being given a comprehensive education in both music and the Islamic sciences.

[9] In a career of over 40 years, Ishaq became both a leading court musician and companion to six caliphs: Harun, Al-Amin, Al-Ma'mun, Al-Mu'tasim, Al-Wathiq and Al-Mutawakkil.

[10] On one occasion Abu al-Faraj al-Isfahani records that Ishaq identified a single mistuned string upon listening to twenty ouds simultaneously.

[15] An Abbasid Prince, Ibrahim was "portrayed as a champion of greater freedom of expression" and noted for his musical innovations which often employed Persian aesthetics.

[4] Ishaq was celebrated for his technique, command of repertoire and musical ear,[5] and according to al-Isfahani he once purposefully played an out of tune oud to show up Ibrahim.

[10] Contemporary sources relay that Ishaq had an unattractive singing voice,[10] and in this he was surpassed by Ibrahim ibn al-Mahdi, who was famous for his tone and vocal range of four octaves.

[2] To make up for his poor natural voice, Ishaq may have sung in falsetto, a technique that commentators such as al-Isfahani credit him with introducing.

[1] A diversely educated individual, Ishaq exemplified the "cultivated musician-courtier" of his time by having considerable ability in the variety of disciplines in addition to music.

first half of the 11th century), Hawi al-funun wa-salwat al-mahzun (Compendium of the arts to comfort sad hearts), and far more than many of al-Tahhan's contemporaneous musicians.