Transcript Pyotr Tschaikovsky and Traditional Arabic (Lebanese) Music

Traditional Lebanese
Music vs. Pyotr
Tchaikovsky
By:
Katelyn Gutierrez
Period 6
Started in Baghdad and branched
 in its infant stage: slave entertainment
and communication is main purpose.
 The group of slave singers were referred
to as “quynat.”
 later performed to entertain Arabic
royalty, who patronized the musicians in
later generations.
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The Origins and Functions of
Arabic Music
Pictures of Society
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Western music known for static meter and
polyphony
Arabic music does not utilize polyphony
Western music follows the seven Church
Modes
Arabic music’s one mode of maqâm
(comprised of quarter and half tones)
Arabic music is performed primarily by up to
six instruments
Western music performed by larger groups
Elements of Arabic Music:
Differences
common theme is love
 Performed in groups: the “takht” for
Arabic music and various types of musical
performing groups (i.e. orchestras, bands,
etc.)
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Similarities
The Oud
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Similar to the lute in
the family of
chordophones
Allegedly created by
the grandson of the
first man, Adam,
named Lamak
assumed its final form
in Spain by Ziryab
During Moorish Period
(711-1492)
The Qanoun
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Also referred to as the
Zither
descendent of the Egyptian
harp
Meaning “law” in Arabic;
sets the law for what pitch
the singer and other
instruments must play in
consists of eighty one
strings
plucked either by finger or
through plectrums on the
forefingers
strings are divided in 3string groups consisting of
24 treble chords and thus 3
chords to every note
Levers are used to switch
between maqâms.
The Nay
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meaning “reed” in Farsi
made from cane
comes in different lengths
according to a specific
pitch arrangement
has six holes, played with
the fingers and specific
technique of bilabial airing
much like a reed
instrument
the most difficult and
challenging instrument to
play in the takht
timbre adds a mellow and
warm color to the rest of
the arrangement
Set of seven
Egyptian-style
nays
The Riq
resembles a small
tambourine
 traditionally made
with goat or fish
skin, producing a
warm sound
 sensitive to
humidity
 maintains the
tempo of the piece
as well as the
dynamics.
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The Buzuq
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The buzuq is a fretted
instrument of Turkish
origins. It commonly
consists of steel strings, in
two courses: the double
(C4) and triple (G3). The
bright tone of the buzuq
often add a lightened mood
to Arabic music often set in
a minor tone, and thus it is
commonly a solo instrument
for its unique sound and
offset intonation when in
comparison to other
instruments in the maqâm.
This instrument is not
traditionally a part of the
takht, but is a crucial
component of Lebanese
music.
The Darbouka
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resembles a goblet
drum
known as the
“doumbek” in modern
times
produces a sharp and
minute tone when
struck
like the riq, it is made
with either goat or
fish skin.
Takht Instruments
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8th – 9th century A.D.: Origins
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661 – 750 A.D.: The Umayyad Empire
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711 – 1492 A.D.: The Moorish Period
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750 – 909 A.D.: The Abbasid Empire
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1517 – 1917 A.D.: The Ottoman Turks
Influence
Time Frame
began to be patronized during the
Ottoman rule (1517 – 1917)
 became a profession
 Musicians were referred to as:
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 “alatiyyah,” or male instrumentalists
the “‘awalim,” or literally “learned females”
Importance in Society
All methods performed according to the
maqâm
 melodic development in which
modulation is induced
 Different sized nays determine key and
mood of the song
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Special Methods
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unique use of one mode as opposed to
the seven western church modes
melodic progression or development
No polyphony
Performing groups comprised of 6+
instruments
Traditional aspects have not changed in
modern music
Acoustical properties
The structure of chords represented by
“jins” (plural form “ajnas”)
 referring to chords such as tetrachords,
trichords and pentachords whose
identities are determined by a specific
maqâm
 The maqâm is the mode that all classical
and traditional Arabic music abide by
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Structures
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Traditional Arabic (Lebanese) music
sample: Shatty Ya Dinyaa – Fairuz
Samples
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Pyotr Ilyich Tchaikovsky – “Marche Slave”
Western Music Sample
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Born – May 7th, 1840 in KamaskoVotkinsk, Russia
Died November 6th, 1893, St. Petersburg,
Russia
Romantic Period (1820-1910)
Famous for the Nutcracker ballet, Swan
Lake ballet, etc.
Composed conciertos for the piano and
violin
Tchaikovsky’s Background
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For the Nutcracker Ballet: Arabian Dance
◦ One of the dances in the Land of Sweets:
Arabian = The Coffee among the sweets
◦ Marius Petipa, original choreographer,
demanded Arabian dance in the ballet
◦ One of Petipa’s most famous ballet titled, “The
Pharaoh’s Daughter”
 Romantic ballet in which an Englishman falls
asleep smoking opium in a pyramid during a
storm, and dreams of love with an Egyptian
princess/heiress named Aspicia.
Arabic Influences on Tchaikovsky
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Arabian Dance written based on a
Georgian lullaby
◦ Georgia is bordered by Russia, Azerbaijan, south of Armenia
and southwest of Turkey
◦ Music from Georgia was inevitably influenced by Arabic
traditional musical themes from Islam and the various Persian
Empires (536 BCE-CE 638)
◦ The use of the traditional lullaby is an indirect influence of
Arabian music
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Petipa studied choreography in Spain in 1845,
where dancing has been influenced by Arabic
traditional music and dance
Arabic Influence Cont’d
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http://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky
http://en.wikipedia.org/wiki/Arabic_music
http://www.tradebit.com/filedetail.php/1240683-tchaikovsky
http://www.emusic.com/album/Arabesque-Traditional-Arabic-Music-MP3Download/10589315.html
http://www.indianchild.com/arabic_music_mp3_songs_downloads.htm
http://www.firdaous.com/en/?9-a
http://en.wikipedia.org/wiki/Georgia_(country)
Bibliography
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http://www.maqamworld.com/instruments.html
http://www.rhythmuseum.com/egyptian/darbouka.ht
ml
www.rainbowcrystal.com/music/music6.html
http://trumpet.sdsu.edu/m345/arab_music1.html
http://www.allisonsdancecentre.com/framework.php?
pageName=23162674583&id=215
http://www.olympicballet.com/performances/nutcrac
ker-story.html
http://www.emergingpictures.com/pharoahs_daughte
r.htm
http://www.abt.org/education/archive/choreographer
s/petipa_m.html
Bibliography Cont’d
THE END!!