Arab music: a survey of its history and its modern practice
Arab Music: A survey of its history and modern practice' is primarily meant for the general Western reader with some basic knowledge of music and music notation. It aims at correcting the still prevalent romantic image of Arab music, spread in the 19th century, as exotic and typified by long, p...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford
Archaeopress
2021
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Arab Music: A survey of its history and modern practice' is primarily meant for the general Western reader with some basic knowledge of music and music notation. It aims at correcting the still prevalent romantic image of Arab music, spread in the 19th century, as exotic and typified by long, plaintive and erotic sounding melodic lines and inciting rhythms. It offers the reader a comprehensive survey of the history and the development of Arab music and musical theory from its pre-Islamic roots until 1970, as well as a discussion of the major genres and forms practiced today, such as the Egyptian gil, the Algerian rai and Palestinian hip hop. Other topics touched upon are musical instruments and folk music. The analysis of each genre is accompanied by a complete musical notation of an exemplary composition or improvisation, including lyrics and translation |
| Beschreibung: | viii, 200 Seiten Illustrationen, Notenbeispiele, Porträts (teilweise farbig) |
| ISBN: | 9781789699326 |
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| 520 | 3 | |a Arab Music: A survey of its history and modern practice' is primarily meant for the general Western reader with some basic knowledge of music and music notation. It aims at correcting the still prevalent romantic image of Arab music, spread in the 19th century, as exotic and typified by long, plaintive and erotic sounding melodic lines and inciting rhythms. It offers the reader a comprehensive survey of the history and the development of Arab music and musical theory from its pre-Islamic roots until 1970, as well as a discussion of the major genres and forms practiced today, such as the Egyptian gil, the Algerian rai and Palestinian hip hop. Other topics touched upon are musical instruments and folk music. The analysis of each genre is accompanied by a complete musical notation of an exemplary composition or improvisation, including lyrics and translation | |
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Datensatz im Suchindex
| _version_ | 1804184034503294976 |
|---|---|
| adam_text | Contents Sources of illustrations...................................................................................................................iv Foreword............................................................................................................................................v Recorded Music............................................................................................................................... vi Transliteration of the Arabic letters........................................................................................... vii Introduction...................................................................................................................................... 1 Part I: Historical background........................................................................................................... 5 Introduction................................................................................................................................. 5 The legacy of past centuries......................................................................................................... 6 Egypt and Mesopotamia.......................................................................................................... 6 From the third century BCE to the seventh century CE......................................................... 9 Arab music before the arrival of the Islam................................................................................. 11 The Bedouins.................................................................. 11
Mecca and Medina................................................................................................................. 12 Musical instruments.................. 12 The early Islamic period and the Umayyad Caliphate (600 ֊ 750)............................................. 14 The muķannat....................................................................................................................... 17 Damascus............................................................................................................................... 18 The Golden Age of the Abbasids (eighth and ninth centuries)................................................. 19 Music at the court of Harun ar-Rasid....................................................................................20 The emergence of Andalusia................................................................................................ 23 The beginning of the Andalusian music tradition: Ziryãb................................................... 24 Music theory.......................................................................................................................... 24 The tenth to the thirteenth century........................................................................................... 28 Music theory in the Mashriq................................................................................................ 28 Al-Fārābī.......................................................................................................................... 28 Al-Hasan ibn
Ahmad........................................................................................................ 33 Ibn Sīnā............................................................................................................................ 33 Developments since the tenth century in the Maghreb...................................................... 34 From circa 1250 to 1600.............................................................................................................. 37 Musical life............................................................................................................................. 39 Music Theory......................................................................................................................... 43 The basic tone range........................................................................................................ 44 The basic scales jins and šadd......................................................................................... .46 Transposition of modes................................................................................................... 49 Rhythm.................................................................................................................................. 50 Forms of compositions.......................................................................................................... 51 The organization of the modes and cosmology.................................................................... 55 Musical
instruments............................................................................................................. 58 From the late fifteenth to the mid-nineteenth century............................................................ 59 From 1850 to the end of the twentieth century................................................ 71 The period of the Arab renaissance, the nahda.................................................................... 73
The twentieth century.................................................................................................... 76 The lyric theatre........................................................................................................ 76 The music film and Muhammad cAbdū-l-Wahhāb................................................... 76 The radio and Umm Kulthūm...................................................................................78 The turăț or musical heritage....................................................................................79 The seventies, a change of generations.................................................................... 80 Part 2: The Modern Time......................................................................................................... 82 Introduction.......................................................................................................................... 82 The tone system.................................................................................................................... 82 Temperament.................................................................................................................. 84 The jins.............................................................................................................................85 The maqâm...................................................................................................................... 87 The number of maqãmãt........................................................................................... 87
The tonal structure of a maqâm................................................................................ 87 The main maqãmãt................................................................................................... 88 — Rast.................................................................................................................... 88 — Bayàtì............................................................................................................... 89 — Saba.................................................................................................................. 89 - Sīkā...................................................................................................................89 — Huzām............................................................................................................... 89 — cAjām.................................................................................................................90 — Nahãwand......................................................................................................... 90 — Nawã ațar........................................................................................................... 90 — Hijāz.................................................................................................................. 91 Modulations................................................................................................................ 91 Meter and rhythm......................................................................................................... 92 Simple
binary awzăn.................................................................................................. 93 Simple ternary awzăn................................................................................................ 94 Some compound awzăn............................................................................................. 95 dawr hindi:............................................................................................................ 95 nawakt:..................................................................................................................95 aqsaq: ................................................................................................................... 95 aqsâq țaqîl:............................................................................................................. 95 samācītaqīl:........................................................................................................... 96 cawīs:..................................................................................................................... 96 dawr kabir turki:................................................................................................... 96 The classical urban music..................................................................................................... 96 The tradition of Iraq: al-maqãm aPirãqi..................................................................... 96 The classical tradition of Syria and Egypt, the waşla.................................................. 101 The instrumental forms of the
Syrian and Egyptian tradition............................. 103 The taqsim............................................................................................................103 The samā^.......................................................................................................... 108 The bašraf...........................................................................................................Ю8 The lünga.............................................................................................. Ш The dūlāb............................................................................................................. ИЗ The tahmila.......................................................................................................... ИЗ ii
The vocal forms of the Syrian and Egyptian tradition............................................ 114 The mawwãl.......................................................................................................... 114 The layali ........................................................................................................... 116 The dawr............................................................................................................ 116 The ugniya.......................................................................................................... 123 The muwaššah....................................................................................................... 127 Classical traditions in North Africa: the nawba........................................................... 128 The Moroccan nawba tadition.................................................................................. 131 The Algerian nawba tradition.................................................................................. 133 The Tunisian nawba tradition.................................................................................. 136 Popular music...................................................................................................................... 137 Firqa songs..................................................................................................................... 137 The Egyptian šacbī......................................................................................................... 145 The Egyptian
gil............................................................................................................. 148 The Algerian raí............................................................................................................. 152 The Moroccan šacbī (chaâbi).......................................................................................... 155 The Arab hiphop ........................................................................................................... 159 Folk Music............................................................................................................................ 162 The Middle East............................................................................................................. 163 The Bedouins............................................................................................................ 163 The sedentary population....................................................................................... 167 Non֊metrical songs of the sedentary population.............................................. 167 Metrical songs of the sedentary population ..................................................... 172 The music of the inhabitants of theeastern and southern coast of the Arabian Peninsula...................................................................................... 173 The Maghreb.................................................................................................................. 175 Vocal
Music............................................................................................................... 175 Instrumental music.................................................................................................. 179 Bibliography................................................................................................................... 180 Discography............................................................................................................................. 186 List of recorded music.............................................................................................................189 Websites........................................ 192 Index......................................................................................................................................... 193 iii
|
| adam_txt |
Contents Sources of illustrations.iv Foreword.v Recorded Music. vi Transliteration of the Arabic letters. vii Introduction. 1 Part I: Historical background. 5 Introduction. 5 The legacy of past centuries. 6 Egypt and Mesopotamia. 6 From the third century BCE to the seventh century CE. 9 Arab music before the arrival of the Islam. 11 The Bedouins. 11
Mecca and Medina. 12 Musical instruments. 12 The early Islamic period and the Umayyad Caliphate (600 ֊ 750). 14 The muķannat. 17 Damascus. 18 The Golden Age of the Abbasids (eighth and ninth centuries). 19 Music at the court of Harun ar-Rasid.20 The emergence of Andalusia. 23 The beginning of the Andalusian music tradition: Ziryãb. 24 Music theory. 24 The tenth to the thirteenth century. 28 Music theory in the Mashriq. 28 Al-Fārābī. 28 Al-Hasan ibn
Ahmad. 33 Ibn Sīnā. 33 Developments since the tenth century in the Maghreb. 34 From circa 1250 to 1600. 37 Musical life. 39 Music Theory. 43 The basic tone range. 44 The basic scales jins and šadd. .46 Transposition of modes. 49 Rhythm. 50 Forms of compositions. 51 The organization of the modes and cosmology. 55 Musical
instruments. 58 From the late fifteenth to the mid-nineteenth century. 59 From 1850 to the end of the twentieth century. 71 The period of the Arab renaissance, the nahda. 73
The twentieth century. 76 The lyric theatre. 76 The music film and Muhammad cAbdū-l-Wahhāb. 76 The radio and Umm Kulthūm.78 The turăț or musical heritage.79 The seventies, a change of generations. 80 Part 2: The Modern Time. 82 Introduction. 82 The tone system. 82 Temperament. 84 The jins.85 The maqâm. 87 The number of maqãmãt. 87
The tonal structure of a maqâm. 87 The main maqãmãt. 88 — Rast. 88 — Bayàtì. 89 — Saba. 89 - Sīkā.89 — Huzām. 89 — cAjām.90 — Nahãwand. 90 — Nawã ațar. 90 — Hijāz. 91 Modulations. 91 Meter and rhythm. 92 Simple
binary awzăn. 93 Simple ternary awzăn. 94 Some compound awzăn. 95 dawr hindi:. 95 nawakt:.95 aqsaq: . 95 aqsâq țaqîl:. 95 samācītaqīl:. 96 cawīs:. 96 dawr kabir turki:. 96 The classical urban music. 96 The tradition of Iraq: al-maqãm aPirãqi. 96 The classical tradition of Syria and Egypt, the waşla. 101 The instrumental forms of the
Syrian and Egyptian tradition. 103 The taqsim.103 The samā^. 108 The bašraf.Ю8 The lünga. Ш The dūlāb. ИЗ The tahmila. ИЗ ii
The vocal forms of the Syrian and Egyptian tradition. 114 The mawwãl. 114 The layali . 116 The dawr. 116 The ugniya. 123 The muwaššah. 127 Classical traditions in North Africa: the nawba. 128 The Moroccan nawba tadition. 131 The Algerian nawba tradition. 133 The Tunisian nawba tradition. 136 Popular music. 137 Firqa songs. 137 The Egyptian šacbī. 145 The Egyptian
gil. 148 The Algerian raí. 152 The Moroccan šacbī (chaâbi). 155 The Arab hiphop . 159 Folk Music. 162 The Middle East. 163 The Bedouins. 163 The sedentary population. 167 Non֊metrical songs of the sedentary population. 167 Metrical songs of the sedentary population . 172 The music of the inhabitants of theeastern and southern coast of the Arabian Peninsula. 173 The Maghreb. 175 Vocal
Music. 175 Instrumental music. 179 Bibliography. 180 Discography. 186 List of recorded music.189 Websites. 192 Index. 193 iii |
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