I have the first from jei stor but I'm afraid about the copyright.
For the second, it is not free. But search about Farmer's book "Historical facts on the arabian influence in the archive.org. There is a chapter "on the old arabian theory" (I have the book but cannot upload it because of my slow connection".
There is also a chapter on the Arabic music by Farmer in The New Oxford History of Music, Vol. I. I read it a long time ago but I remember that he speaks about a kind of Byzantine influence (which, as far as I remember, he identifies with pythagorean intervals). He speaks about the same modes there, too. The old arabic terms used as names come from fingering ("usta" eg. is the middle finger) on the oud. It seems that a collective name for them is "dasatin", which should be an arabic plural form* of the Persian word "dast", meaning "hand", a word found also in the Persian term "dastgah", meaning literally "place of the hand".
* an "arabization" of the plural form exists eg also for the greek word "jins"=genos, arabic plural "ajnas"
Thanks for the reference to Farmer's book. It's an interesting reading, although not very concrete as far as technicalities are concerned. From the little I read now he maintains that (I provide a little summary to organise my thoughts and also maybe because it will be interesting to other people).
1) "Arabian culture and civilisation did not originate with nomads nor with Islam" and "Long before Islam we read, here and there, of the musical proclivities of the ancient Arabs" (p. 49).
2) Arabs had indigenous musical system which they were able to reduce to the theory long before the conquest of Iran in the 7th c. (pp. 50-52).
3) Influence of the Persian and Byzantine musical systems and later on of the ancient Greek principles on the Arab music is readily admitted (p. 52) with the converse being also true (pp. 52-53). "The alien influences in Arabian music were for the most part quite superficial, and, at first, had no bearing on theory" (p. 53). What exactly the Arabs borrowed from Persia and Byzantium in terms of theory is unclear (pp. 53-56). Here Farmer seems to clearly distinguish between ancient Greek musical system and the music of Byzantium. "The first information that we have of the definite influence of Persia and Byzantium in Arabian musical theory, also tells us of an indigenous Arabian system" (p. 56). Quoting the chronicler, whatever was found disagreeable, was rejected, "for instance the intervals (nabarat) and modes (nagham)... in the song (ghina) of the Persians and Byzantines, which were alien to the Arabian song" (p. 57). What was not borrowed from Persia or Byzantium is listed on pp. 57-58. What is known on Arabian music prior to the Greek scholiasts is sufficient to assert that the Arabian musical system was different from the Persian and the Greek (p. 59).
4) The modes of Arabs, Persians and Byzantines were different in the 9th c. (pp. 60-61; this claim has to be interpreted in a sense that all three modal systems, even though they could have had something in common, still possessed a number of distinctive properties).
5) The influence of the ancient Greek musical theory on the Arab music is dealt with in a separate chapter "The Greek Scholiasts" (p. 63ff). The music became one of the courses of scientific study (p. 64). This was a scholastic exercise and the Arab theorists do not fail to draw a line between this "theory of the ancients (=ancient Greeks)" and the native practical art (p. 65). The borrowings were nomenclature dealing e.g. with intervals (pp. 66-67). The Arabs didn't merely copy the speculative music theory, but further developed it (pp. 67-69) and scrutinised the ancient Greek theory. Among notable Arab developments are "the Figures of the Melody" (melous schemata) and the doctrine of ethos (p. 71).
The book has some very valuable appendices. Of course it has a vigorous and polemical tone and is likely to exaggerate at places, but in this it probably fades away in comparison to some of the bombastic statements and views it is criticising
