How did al-Kindi link the oud's four strings to the cosmos? Read about the ethos doctrine, colour and scent, and how his theory differs from science.
When someone who has just started oud lessons learns the names of the strings from their teacher, they usually think only about tuning and finger positions: bam, mesles, mesnâ, zîr. Yet behind these names lies more than a thousand years of thought. Al-Kindi, a philosopher who lived in the ninth century, linked these four strings of the oud with the heavenly bodies, the seasons and the four elements, and tried to explain the effect of music on human beings within this great order. In this article we look at what al-Kindi's treatises on music describe, where the idea of "influence" comes from and how these ideas can be read alongside today's psychological knowledge. While respecting history, we will take care not to confuse these theories with present-day treatment recommendations.
Al-Kindi's Treatises on Music: Who Was He and What Did He Write?
Al-Kindi, who is known to have died around 870, is one of the first great philosophers of the Islamic world. He wrote in many fields such as philosophy, mathematics and the natural sciences, and regarded music as an important part of this wide range of interests. According to the sources, he wrote ten treatises on music, four of which have survived to the present day.
What makes al-Kindi important for the history of music is not only the number of works he wrote. In the tradition of the "classification of the sciences" that began with him, music was counted among the mathematical sciences. This approach was later continued by al-Farabi, the Brethren of Purity (Ikhwan al-Safa) and Ibn Sina (Avicenna). In other words, music was treated not merely as entertainment or a means of expressing emotion, but as a serious field of knowledge that could be studied through ratios, intervals and numbers.
This view may seem a little distant to us today. But think about it: when you halve the length of a string, the pitch rises by an octave. The relationships between notes can be expressed in numbers. Looking at this regularity, thinkers of the period concluded that music was a small reflection of the great order of the universe.
The Oud's Four Strings and the Link with the Cosmos
The most widely known aspect of al-Kindi's music theory is the relationship he drew between the four strings of the oud and the universe. The oud of his time had four main strings, and their names still live on in traditional music today:
- Bam: The thickest and lowest-pitched string
- Mesles: The string that comes after the bam
- Mesnâ: The second, thinner string
- Zîr: The thinnest and highest-pitched string
Al-Kindi linked these four strings with the heavenly bodies, the signs of the zodiac, the seasons and the four elements. The four elements are earth, water, air and fire, regarded since antiquity as the basic building blocks of nature. According to this way of thinking, each string represents a particular quality in the universe, and the strings playing together in harmony is likened to the balance of the cosmos.
Al-Kindi also added a theoretical fifth string, the "hadd", to the oud. This string was intended to extend the range of sound and complete the theory. What matters here is less the technical detail than the way of thinking: the instrument is not just a means of making sound, but a model for understanding the universe.
Let us look at this model through the eyes of a conservatoire student. Let's say a young person studying the oud reads about al-Kindi for the first time in a history of music class and starts to look at their instrument differently. They no longer see the bam string merely as the thickest string, but as the carrier of a sound that was connected, centuries ago, to the earth, the seasons and the sky. This perspective may give them the chance to form a deeper bond with their instrument; history adds meaning to practice. On the other hand, if the same student were to read the theory as "if I play the bam string, such-and-such an illness will go away", that would be a misunderstanding of both al-Kindi's text and present-day knowledge. The difference between loving a theory and turning it into a set of treatment instructions is one of the main ideas of this article.
At this point it is also worth pointing out a common mistake. Popular articles often claim that al-Kindi matched each string directly with one of the four temperaments, that is, blood, phlegm, yellow bile and black bile. This direct link does not appear clearly in the encyclopaedic sources available; what stands out in the sources is the relationship between the strings and the four elements. That is why definite statements such as "according to al-Kindi, the zîr string stirs up yellow bile" should be approached with caution.
The Ethos Doctrine: Does Music Shape Human Character?
Al-Kindi explains the effects of music on the human body and soul within the framework of the "ethos" doctrine. According to this idea, which comes from ancient Greece, music can shape a person's character and mood; some melodies give courage, some calm, and some evoke sorrow.
This idea neither begins nor ends with al-Kindi. The thinkers who came after him also argued that music affects the human soul. This tradition also forms the intellectual background to accounts of patients being played music in Seljuk and Ottoman darüşşifas (historic hospitals). If you are curious about how these institutions worked, you can also take a look at our articles on darüşşifas.
Today, some of the intuitions of the ethos doctrine fit our everyday experience. Almost everyone can remember a moment when a song changed their mood. Let's say someone is driving home tense after being stuck in a long traffic jam, hears on the radio a folk song they listened to in childhood, and notices their shoulders relaxing. This experience is real. But generalisations such as "a particular melody creates the same effect in everyone" or "a particular string corrects a particular illness" go far beyond this everyday experience.
Al-Kindi looked for a harmony between music and the universe; today we also see how much the relationship between music and a person can vary from one individual to another.
Colour, Scent and Music: A Multi-Sensory Idea of Influence
Academic studies of al-Kindi's treatises report that he recommended using colour and scent to enhance the effect of music. This information comes from secondary academic summaries, so we need to be careful about the details. Even so, the idea is striking: the effect of music was considered not on its own but together with the whole environment.
This approach has something in common with today. When we think about mood, we know that what matters is not only what we listen to, but also where, with whom and under what conditions we listen to it. A piece heard through headphones on a crowded bus and the same piece heard on a balcony on a quiet evening can create different experiences.
However, one difference needs to be stated clearly. Al-Kindi's multi-sensory approach is a theory and a belief of its time; today there is no scientific finding that "if colour, scent and music are combined, illness is cured". Products sold as "healing music" or promising recovery through particular frequencies are not supported by evidence, even when they claim to be based on these historical ideas.
Reading Al-Kindi's Music Theory Through Today's Eyes
The most fruitful way to read al-Kindi today is to see him not as a treatment manual, but as an early and bold attempt to understand the relationship people form with music.
To do this, it helps to keep a few distinctions in mind:
- Theory and evidence are different. Al-Kindi's theory rests on the worldview of his time. The theories of the four elements and the four humours have been abandoned by modern science.
- The idea of influence and a treatment claim are different. Saying that music affects emotions is one thing; saying that a particular piece of music cures a particular illness is quite another.
- Today's research is more cautious. For example, a 2017 Cochrane systematic review reports that music therapy for depression, when added to usual care, can reduce symptoms in the short term, but that the evidence is of low to moderate certainty. In this review, music therapy is defined as musical interaction with a professional within a therapeutic framework; simply listening to recorded music does not fall within this definition.
Why does music affect our emotions?
Al-Kindi answered this question with the order of the universe. Today, psychology focuses on more modest and more personal explanations. To give a few examples:
- Memories: A song can remind us of the period when we first heard it, the people who were with us, even the smell of that day. A dance tune played at weddings may cheer one person up, while the same melody may sadden someone who has recently suffered a loss.
- Expectation and habit: The musical culture we grow up in affects which sounds strike us as "sad" or "exuberant". That is why a melody considered soothing in one society may not carry the same meaning for someone from another culture.
- The body: Rhythm makes movements such as stepping, clapping or swaying easier. Getting the body moving can in turn be reflected in mood.
- Sharing: Singing together or listening to the same music can create a sense of connection between people.
What these explanations have in common is that the effect of music is not independent of the person listening. The idea that a string or a melody will produce the same result in everyone is therefore not accepted today. The difference between al-Kindi's search for universal harmony and today's person-centred view is perhaps the most instructive difference between these two eras.
We have described what present-day practice involves, who it may be considered for and what its limits are in detail in our article on music therapy. We discuss common beliefs about makams (melodic modes) separately in our article on the effects of makams on people.
A Simple Experiment to Notice How Music Affects You
Al-Kindi's question is in fact still relevant: what does music do to us? You can ask this question with curiosity in your own life. The suggestions below are not a therapy method, but a simple self-care exercise aimed at getting to know yourself.
- Keep a music diary for a week: Briefly note the moments during the day when you deliberately listened to music. What did you listen to, and how did you feel before and after listening?
- Think of them as four "strings": Choose one piece each that calms you, energises you, puts you in touch with sadness and helps you focus. Notice which one you need and when.
- Notice the setting: Listen to the same piece in different settings. Pay attention to how light, sound and being alone or with others change the experience.
- Look at the difference between feeding sadness and staying with sadness: After a loss or a break-up, we sometimes listen to the same mournful song over and over again. For a while this can help us live through the feeling; but if, as the days go by, it is dragging you further down, it may be time to review your choice of music and your overall mood.
The aim of these observations is not to find the "right" music, but to notice how music speaks to your own emotional world. If music does you good, that is valuable; but it should not take the place of the support that a mental health difficulty requires.
When Should You Seek Professional Support?
Listening to music, playing it or singing accompanies many people through difficult days. However, it may be helpful to talk to a mental health professional in the following situations:
- If you have been experiencing low mood, loss of interest or hopelessness for more than two weeks
- If nothing touches you any more, including music you used to enjoy
- If there is a marked change in your sleep, appetite and energy levels
- If anxiety or restlessness makes it difficult to carry on with your daily tasks
If you are having thoughts of harming yourself or ending your life, call 112 (emergency services) in an emergency.
In the process of psychological support, creative activities such as music, art or writing can sometimes find a complementary place. For example, in therapy focused on depression and mood, replanning activities that bring a person enjoyment and meaning, as part of a cognitive behavioural approach, is an important step; listening to music or returning to an instrument can be one of these activities. Here music is not a treatment in itself, but one of the pieces that helps bring a person's life back to life. If a psychiatric assessment is needed, seeing a psychiatrist is also part of the process.
Frequently Asked Questions
Did al-Kindi see music as a method of treatment?
Al-Kindi explained, within the framework of the ethos doctrine, that music has effects on the human body and soul. However, what he wrote is not a treatment protocol in today's sense, but a philosophical theory built around the universe and human beings.
Was the oud's fifth string al-Kindi's invention?
According to the sources, al-Kindi added a theoretical fifth string, the "hadd", to the oud. This addition is regarded as an intellectual contribution aimed at extending the range of sound and completing the theory.
Can I read al-Kindi's treatises on music in Turkish?
There are Turkish academic articles and theses on al-Kindi's treatises on music. University library databases and academic journal platforms are a good starting point for finding these studies.
Are the oud strings still called bam, mesles, mesnâ and zîr today?
These names continue to live on in traditional music terminology and come up frequently in history of music classes. The number and arrangement of strings on today's oud, however, differ from those of al-Kindi's time.
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Eda Erkan Alapala
Klinik Psikolog. İstanbul Kent Üniversitesi Klinik Psikoloji Tezli Yüksek Lisans mezunu; bilişsel davranışçı terapi, çocuk merkezli oyun terapisi ve çocuk-ergen psikoterapisi alanlarında eğitimlerini tamamlamıştır.
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