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User:Hugh Beresford1997/Arabic Music/Skylercafferata Peer Review

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Arabic music

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Improvisational Music in the Arabic Mediterranean region. edit

 

Ethnomusicologist Ali Jihad Racy talks about the improvisational style of music that is present in much of the Mediterranean world.[1] Racy discusses the regional attitudes towards improvisational music in the Middle East describing that improvisation can suggest casual or untrained or even non-professional music-making.[2] This is held only by certain communities within the Arabic world and will likely differ from each region or community.[3][4] Some regions look at improvisational music as the intuitive artistic ability that momentarily expresses the feeling of the player.[5][6] Other subcultural groups tend to view improvisation as though it transcends the maqam or folk traditions making improvisation a style that is viewed as a mastery of musicianship.[7][8]

Other schools of thought on improvisational music, in the Arab world, believe that improvisational music shows a lack of understanding in musical training.[9] while other groups view improvisation as only learned through trial and error with meticulous training which places those who can play with improvisation highly respected.[10] Racy is unclear of who these subcultures are that view improvisation in each particular way, suggesting that the dynamic view on improvisation encompasses many views. The reason for these distinctions is to understand the fact that improvisation is not always viewed as a good style within music and that there is no one simple understanding of it within the Middle East.

Taqasim edit

A significant and highly respected traditional form of improvisation is called Taqasim.[11] Taqasim music uses a maqam and improvises the form or structure of the song, which creates a cathartic experience for the listener.[12] Further, the improvisational aspects go beyond the form and are expressed in the quartertones of the song.[13] This tradition historically was performed as a chant. Now it is used by performers on the oud/ud, violin, or nay (a type of flute) and, as stated above, draws great emotion from the listener.[14] [15] Listeners have been known to laugh, cry, and shout, all from different parts of the same performance due to the improvisational music guiding emotions which can result in extreme emotional reactions.[16]

More improvisation styles are discussed as follows:

A certain type of Arabic chant is in the melismatic style and is both long and highly ornamented.[17] It has specific elements of free rhythm and improvisation as part of its structure. Syllabic chant is isochronic, is accompanied by al-durbkkeh (a percussive instrument found in Syria and Lebanon) and is relatively fast in its nature.[18] Participation from the listeners is usually engaged through the clapping of hands to the rhythm.[19]

Ethnomusicologist Jargy tells of another type of improvisational music in which he uses the name Median[20]. This music is a combination of the syllabic chant and the melismatic style. Median improvisational music explores the depth of what improvisational music can do, usually resulting in being faster than syllabic chant.[21] The last improvisational style discussed by Jargy is the recitative style that is sung predominantly by women and is built on aural tradition.[22]

  1. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  2. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  3. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  4. ^ Nettl, Bruno; Turino, Thomas; Wong, Isabel; Capwell, Charles; Bolman, Philip; Dueck, Byron; Rommen, Timmothy (2015-09-25). Excursions in World Music, Sixth Edition. Routledge. ISBN 978-1-317-35029-3.
  5. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  6. ^ Nettl, Bruno; Turino, Thomas; Wong, Isabel; Capwell, Charles; Bolman, Philip; Dueck, Byron; Rommen, Timmothy (2015-09-25). Excursions in World Music, Sixth Edition. Routledge. ISBN 978-1-317-35029-3.
  7. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  8. ^ Nettl, Bruno; Turino, Thomas; Wong, Isabel; Capwell, Charles; Bolman, Philip; Dueck, Byron; Rommen, Timmothy (2015-09-25). Excursions in World Music, Sixth Edition. Routledge. ISBN 978-1-317-35029-3.
  9. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  10. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  11. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  12. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  13. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  14. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  15. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  16. ^ Racy, Ali Jihad (2000). "The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol". Ethnomusicology. 44 (2): 302–320. doi:10.2307/852534. ISSN 0014-1836.
  17. ^ Jargy, Simon (1978). "The Folk Music of Syria and Lebanon". The World of Music. 20 (1): 79–93. ISSN 0043-8774.
  18. ^ Jargy, Simon (1978). "The Folk Music of Syria and Lebanon". The World of Music. 20 (1): 79–93. ISSN 0043-8774.
  19. ^ Jargy, Simon (1978). "The Folk Music of Syria and Lebanon". The World of Music. 20 (1): 79–93. ISSN 0043-8774.
  20. ^ Jargy, Simon (1978). "The Folk Music of Syria and Lebanon". The World of Music. 20 (1): 79–93. ISSN 0043-8774.
  21. ^ Jargy, Simon (1978). "The Folk Music of Syria and Lebanon". The World of Music. 20 (1): 79–93. ISSN 0043-8774.
  22. ^ Jargy, Simon (1978). "The Folk Music of Syria and Lebanon". The World of Music. 20 (1): 79–93. ISSN 0043-8774.
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