The Repertoire of Iraqi MaqamThe Repertoire of Iraqi Maqam

This is a reference source that offers the first comprehensive view of the musical contents of the repertoire—scalar structure, melodic materials and overall form—through various tables and musical transcriptions.

Author: Rob Simms

Publisher: Scarecrow Press

ISBN: 9781461673484


Page: 208

View: 435

The classical music of Iraq, known as Iraqi Maqam, features classical and vernacular poetry sung by a virtuoso soloist and accompanied by a small instrumental ensemble. It is a remarkably cosmopolitan art, sharing many features with neighboring classical traditions, particularly Iranian. Its repertoire consists of orally transmitted, multi-sectioned compositions, performed with some flexibility regarding ornamentation, arrangement and development. Focusing on the period between 1930-1980. This is a reference source that offers the first comprehensive view of the musical contents of the repertoire—scalar structure, melodic materials and overall form—through various tables and musical transcriptions. This reference consolidates information from prominent Iraqi sources and draws upon a selection of recordings by master musicians, including Rashid Qundarchi and Yusuf Omar. An introductory section provides a brief overview of pan-Middle Eastern modal theory along with an outline of the terminology, theory and practices specific to Iraqi Maqam. The main section of the work is a catalog of 40 maqams that constitute the central core of the contemporary repertoire.

The Garland Encyclopedia of World MusicThe Garland Encyclopedia of World Music

Iraqi. Maqām. and. Its. Transmission. Scheherazade Qassim Hassan Classification Performance and Musical Accompaniment ... term almaqām al-'irāqı (plural, al-maqāmāt al-'irāqiyya), has a fourth meaning: the main urban vocal repertoire.

Author: Virginia Danielson

Publisher: Routledge

ISBN: 9781351544177


Page: 1212

View: 746

Expert writers present the major traditions of North Africa, the Middle East, and Central Asia, together with personal accounts of performers, composers, teachers, and ceremonies. A special feature of this volume is the inclusion of dozens of brief snap-shot essays that offer "lifestories" of typical musicmakers and their art, as well as first-person descriptions of specific music performances and events. Also includes maps and music examples.

Theory and Practice in the Music of the Islamic WorldTheory and Practice in the Music of the Islamic World

18 Rhythmic modes that accompany specific Iraqi Maqams are indicated in al-Rijab, 1982 pp. ... 21 The 30 Iraqi Maqams performed in the secular cycle does not cover the total number of the Iraqi Maqam repertoire, which amounts to 53; ...

Author: Rachel Harris

Publisher: Routledge

ISBN: 9781351752152


Page: 322

View: 558

This volume of original essays is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Wright’s work, which comprises, at the time of writing, six field-defining volumes and countless articles, has reconfigured the relationship between historical musicology and ethnomusicology. No account of the transformation of these fields in recent years can afford to ignore his work. Ranging across the Middle East, Central Asia and North India, this volume brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers’ reports and descriptions of instruments, on musical institutions and other spaces of musical performance. An introduction provides an overview and critical discussion of Wright’s major publications. The central chapters cover the geographical regions and historical periods addressed in Wright’s publications, with particular emphasis on Ottoman and Timurid legacies. Others discuss music in Greece, Iraq and Iran. Each explores historical continuities and discontinuities, and the constantly changing relationships between music theory and practice. An edited interview with Owen Wright concludes the book and provides a personal assessment of his scholarship and his approach to the history of the music of the Islamic Middle East. Extending the implications of Wright’s own work, this volume argues for an ethnomusicology of the Islamic Middle East in which past and present, text and performance are systematically in dialogue.

Sampling PoliticsSampling Politics

The range that any maqam covers in performance can be as small as three notes or up to seven or eight tones (an ... or familial maqam, can also be geoculturally tagged: for instance, one maqam in the repertoire is called Maqam 'Iraq; ...

Author: M.I. Franklin

Publisher: Oxford University Press

ISBN: 9780190855505


Page: 272

View: 591

Music sampling has become a predominantly digitalized practice. It was popularized with the rise of Rap and Hip-Hop, as well as ambient music scenes, but it has a history stretching back to the earliest days of sound recording and experimental music making from around the world. Digital tools and networks allow artists to sample music across national borders and from diverse cultural traditions with relative ease, prompting questions around not only fair use, copyright, and freedom of expression, but also cultural appropriation and "copywrongs." For example, non-commercial forms of sharing that are now commonplace on the web bring musicians and their audiences into closer contact with emerging regimes of commercial web-tracking and state-sponsored online surveillance. Moreover, when musicians actively engage in political or social causes through their music, they are liable to both commercial and state forces of control. Shifts back to corporate ownership and control of the global music business--online and offline--highlight competing claims for commercial and cultural ownership and control of sampled music from local communities, music labels, and artists. Each case study is based on archival research, close listening, and musical analysis, alongside conversations and public reflections from artists such as David Byrne, Annirudha Das, Asian Dub Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron, Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta. Sampling Politics provides ways to listen and hear (again) how sampling practices and music making work, on its own terms and in context. In so doing, M.I. Franklin corrects some errors in the public record, addressing some longstanding misperceptions over the creative, legal, and cultural legacy of music sampling in some cases of rich, and complex practices that have also been called musical "borrowing," "cultural appropriation," or "theft." This book considers the musicalities and musicianship at stake in each case, as well as the respective creative practices and performance cultures underscoring the ethics of attribution and collaboration when sampling artists make music.

Situating the Uyghurs Between China and Central AsiaSituating the Uyghurs Between China and Central Asia

... but the fundamental concept and practice of maqām as mode begins to shift, to be understood not only as modal system but also as designating a repertoire of more or less fixed pieces.2 Thus, the Iraqi Maqām (almaqāmat alirāqiyya) ...

Author: Ildiko Beller-Hann

Publisher: Routledge

ISBN: 9781351899895


Page: 280

View: 100

Drawing together distinguished international scholars, this volume offers a unique insight into the social and cultural hybridity of the Uyghurs. It bridges a gap in our understanding of this group, an officially recognized minority mainly inhabiting the Xinjiang Uyghur Autonomous Region of the People's Republic of China, with significant populations also living in the Central Asian states. The volume is comparative and interdisciplinary in focus: historical chapters explore the deeper problems of Uyghur identity which underpin the contemporary political situation; and sociological and anthropological comparisons of a range of practices from music culture to life-cycle rituals illustrate the dual, fused nature of contemporary Uyghur social and cultural identities. Contributions by 'local' Uyghur authors working within Xinjiang also demonstrate the possibilities for Uyghur advocacy in social and cultural policy-making, even within the current political climate.

The Making of a Musical Canon in Chinese Central Asia The Uyghur Twelve MuqamThe Making of a Musical Canon in Chinese Central Asia The Uyghur Twelve Muqam

Iraqi singers embellish and vary their repertoire, while Azeris perform an unmetered improvised opening section based on the mode of the muğam. Clearly a part of this continuum, though it does not use maqām terminology as such, ...

Author: Rachel Harris

Publisher: Routledge

ISBN: 9781351886277


Page: 176

View: 465

Throughout the course of the twentieth century, as newly formed nations sought ways to develop and formalise their national identity and acquire a range of identifiable national assets, we find new musical canons springing up across the world. But these canons are not arbitrary collections of works imposed on the public by the authorities. Rather they acquire deep resonance and meaning, both as national symbols and as musical repertoires imbued with aesthetic value. This book traces the formation of one such musical canon: the Twelve Muqam, a set of musical suites linked to the Uyghurs, who are one of China's minority nationalities, and culturally Central Asian Muslims. The book draws on Uyghur and Chinese language publications; interviews with musicians and musicologists; field, archive and commercial recordings, and aims towards an understanding of the Twelve Muqam as musical repertoire, juxtaposed with an understanding of the Twelve Muqam as a field of discourse. The book brings together several years' work in this field, but its core arises from a research project under the auspices of the AHRC Centre for Music Performance and Dance.

Longing for the Lost CaliphateLonging for the Lost Caliphate

For additional musical scores of maqām mukhālis, see Rob Simms, The Repertoire of Iraqi Maqam (Oxford: Scarecrow Press, 2004), 180–86. Hammudi al-Wardi, al-Maqām al-Mukhâlif(Baghdad: Matba' at As'ad, 1969), 5; 'Abbās al-'Azzāwī, ...

Author: Mona Hassan

Publisher: Princeton University Press

ISBN: 9781400883714


Page: 408

View: 932

In the United States and Europe, the word "caliphate" has conjured historically romantic and increasingly pernicious associations. Yet the caliphate's significance in Islamic history and Muslim culture remains poorly understood. This book explores the myriad meanings of the caliphate for Muslims around the world through the analytical lens of two key moments of loss in the thirteenth and twentieth centuries. Through extensive primary-source research, Mona Hassan explores the rich constellation of interpretations created by religious scholars, historians, musicians, statesmen, poets, and intellectuals. Hassan fills a scholarly gap regarding Muslim reactions to the destruction of the Abbasid caliphate in Baghdad in 1258 and challenges the notion that the Mongol onslaught signaled an end to the critical engagement of Muslim jurists and intellectuals with the idea of an Islamic caliphate. She also situates Muslim responses to the dramatic abolition of the Ottoman caliphate in 1924 as part of a longer trajectory of transregional cultural memory, revealing commonalities and differences in how modern Muslims have creatively interpreted and reinterpreted their heritage. Hassan examines how poignant memories of the lost caliphate have been evoked in Muslim culture, law, and politics, similar to the losses and repercussions experienced by other religious communities, including the destruction of the Second Temple for Jews and the fall of Rome for Christians. A global history, Longing for the Lost Caliphate delves into why the caliphate has been so important to Muslims in vastly different eras and places.


The Repertoire of Iraqi Maqam. Lanham, MD: Scarecrow Press. vii, 197 p., illus. ISBN 9780810847583. M1824.I5 S57 2004 An introduction to the Iraqbased melodic modes that form the basis of the Baghdad school of the Iraqi art music ...

Author: Jennifer Post

Publisher: Routledge

ISBN: 9781136705182


Page: 472

View: 467

First published in 2011. Routledge is an imprint of Taylor & Francis, an informa company.