Transcript The Middle East

THE MIDDLE EAST
MUSIC IN THE CRADLE OF GREAT
RELIGIONS
Islam, Iran, Arabic, Sufism, Judaism
© TAYLOR & FRANCIS
MIDDLE EAST MAP
© TAYLOR & FRANCIS
BACKGROUND PREPARATION
 West Asia & North Africa
 Islam, Christianity, Judaism
 Ancient civilizations
 Influence on Europe
 Arabic, Turkish & Persian
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ISLAM & ARABIC MUSIC
Site 1: Islamic “Call to Prayer”
Site 2: Arabic Taqasim for ‘Ud and Buzuq
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Non-music (vs. Music)
 Koranic Chant
 Adhan – Call to Prayer
 Pilgrimage Chants (Hajj)
 Eulogy Chants & Chanted Poetry
“Alif Laam Raa. A book which we have revealed to you (Muhammad) so that you
may lead the people from out of the darknesses into the light by their Lord's
leave to the path of the All-Mighty, the Praiseworthy.” [Koran 14:1]
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Site 1: Islamic “Call to Prayer”
First Impressions
 Heightened speech
Aural Analysis
 Melismatic male voice
 “Allah” – God is Great
A muezzin performs
the Call to Prayer
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CULTURAL CONSIDERATIONS
Muhammad
 Koran
Muslim
Mosque
 Mihrab
 Mecca
 The Ka’aba
 Minaret
Muezzin
The Ka’aba
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The “Blue Mosque”
Sultanahmet Camii mosque in Istanbul, Turkey
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(NON-MUSIC) VS. MUSIC
 Family and Celebratory Music
 Occupational music
(Caravan, shepherd, work songs)
 Military Music
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Site 2: Arabic Taqasim
 First Impressions
 Improvising chordophones
 Aural Analysis
 Ud and Buzuq
 Maqam – “Composition Kit”
 Taqasim
 Free Rhythm
 24 pitches to the octave
Al’Ud
Buzuq
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CULTURAL CONSIDERATIONS
Islamic attitudes toward music
 Legitimate
 Music for worship or function
 Controversial
 “Art” or “Entertainment”
 Non-Islamic sacred music
 Illegitimate
 Sensual music
 Haram
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Iran
Site 3: Dastgah for
Santur and Voice
© Taylor & Francis
 Largely
mountainous
 Persian, not Arabic
 Predominantly Shi’a Muslim
 Theocracy since 1979
Ayatollah Ruhollah Khomeinii
(1900–1989)
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 First
Impressions
• Melancholy Melisma
 Aural
Analysis
• Santur
• Dastgah
 Gusheh
 Radif
Santur
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 Schools
of Dastgah
 Non-meter over meter
 Classical underground
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Egypt
Site 4: Arabic
Takht Ensemble
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Arrival Egypt
Pyramids & Pharaohs
 Suez Canal – 1869
 Modern Era

Temple of Ramses II
at Abu Simbel
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Site 4: Arabic Takht Ensemble

First Impressions
◦ Graceful “belly” dance music

Aural Analysis
◦ Takht
 Melody: ud, kemanja, kanun, ney
 Rhythm: riqq, tablah (darabukka/dombak)
◦ Dulab, Bashraf & Iqa-at
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Takht Instruments
Above: Duff,
Tablah, and Riqq
Right: Ney
Front Row, L to R:
Ud, Kanun, Tablah
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Cultural Considerations
A “belly” dancer from Morocco
“Belly” Dance
 Music evokes emotion

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Sufism
Site 5: Dhikr Ceremony
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Arrival: Sufism

“Mystical” branch of Islam

Noted for their woolen (suf) robes

Most common in Turkey and Pakistan

Monasteries and dervish
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Site 5: Sufi Dhikr Ceremony

First Impressions
 “Spinning top” vocal swirl
 Vocal cry over hearty chant

Aural Analysis
 Ney and “takht” instruments
 Unison singing with shifting tonal center
Followed by:
 Melismatic chant in free rhythm
 Deep, raspy “Allah” chant
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Cultural Considerations

Dhikr –
“Remembrance”

Music as a
“spiritual ladder”

Spiritual ecstasy Oneness with Allah

“Whirling” dervish
Sufis “whirling” during dhikr ritual
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Judaism
Site 6: Liturgical Cantillation
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Arrival: Judaism

Israel
– The Holy Land
The Diaspora
 Sephardic – Ashkenazi

A man prays at the
Wailing Wall in Jerusalem
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Site 6: Jewish Cantillation

First Impressions
– Sung recitation

Aural Analysis
– Shofar & Cantor
– “Speech” rhythm
– Melodic formulas
Shofar
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Cultural Considerations


Torah
Synagogue
Torah
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