 In the Enumeration al-Fârâbî follows the traditional classification of music under mathematics. In The Great Book of Music he certainly indicates that music derives some of its principles from mathematics but he also insists, as we said above, on the importance of performance for determining its empirical principles. On some points the ear, rather than theoretical reflections, is the ultimate judge, even if at times the ear contradicts some mathematical principle. For instance, he is well aware that a semitone is not exactly the half of a tone. Of The Great book of Music there exists only one full translation, that of Rodolphe d’Erlanger into French (originally published in 1930–35 before the Arabic text was edited; reprint 2001). Only partial English translations exist. I referred to two of them: one in the section on language and one in the logic section under poetics. George Dimitri Sawa (2009) translated the two chapters on rhythm. Alison Laywine (McGill University), both a philosopher with excellent knowledge of Greek musical theories and a ‘Oud player, is preparing a full English translation of this complex and lengthy text. Yet, The Great Book is not the only text al-Fârâbî dedicated to music. After having written it, dissatisfied with his explanation of rhythms, he subsequently wrote two shorter texts on rhythms (English translation of both by Sawa 2009). Apparently al-Fârâbî invented a system of notation for rhythms.  In his Philosophies of Music in Medieval Islam Fadlou Shehadi (1995) dedicates his third chapter to al-Fârâbî.  Thérèse-Anne Druart (2020) shows how al-Farabi links music to language, logic and even politics.