Started in Baghdad and branched

Started in Baghdad and branched

• 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.

Western music known for static meter and polyphony

• 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

common theme is love

• common theme is love

• Performed in groups: the “takht” for Arabic music and various types of musical performing groups (i.e. orchestras, bands, etc.)

Similar to the lute in the family of chordophones

• 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)

Also referred to as the Zither

• 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 3-string groups consisting of 24 treble chords and thus 3 chords to every note

• Levers are used to switch between maqâms.

meaning “reed” in Farsi

• 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

resembles a small tambourine

• 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.

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 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.

resembles a goblet drum

• 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

8th – 9th century A.D.: Origins

• 8th – 9th century A.D.: Origins

• 661 – 750 A.D.: The Umayyad Empire

• 711 – 1492 A.D.: The Moorish Period

• 750 – 909 A.D.: The Abbasid Empire

• 1517 – 1917 A.D.: The Ottoman Turks Influence

began to be patronized during the Ottoman rule (1517 – 1917)

• began to be patronized during the Ottoman rule (1517 – 1917)

• became a profession

• Musicians were referred to as:

• “alatiyyah,” or male instrumentalists
• the “‘awalim,” or literally “learned females”

All methods performed according to the maqâm

• All methods performed according to the maqâm

• melodic development in which modulation is induced

• Different sized nays determine key and mood of the song

unique use of one mode as opposed to the seven western church modes

• 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

The structure of chords represented by “jins” (plural form “ajnas”)

• 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

Traditional Arabic (Lebanese) music sample: Shatty Ya Dinyaa – Fairuz

• Traditional Arabic (Lebanese) music sample: Shatty Ya Dinyaa – Fairuz

Pyotr Ilyich Tchaikovsky – “Marche Slave”

• Pyotr Ilyich Tchaikovsky – “Marche Slave”

Born – May 7th, 1840 in Kamasko-Votkinsk, Russia

• Born – May 7th, 1840 in Kamasko-Votkinsk, 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

For the Nutcracker Ballet: Arabian Dance

• 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.

Arabian Dance written based on a Georgian lullaby

• 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

• Petipa studied choreography in Spain in 1845, where dancing has been influenced by Arabic traditional music and dance

http://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky

• 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-MP3-Download/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)

http://www.maqamworld.com/instruments.html 

• http://www.maqamworld.com/instruments.html 

• http://www.rhythmuseum.com/egyptian/darbouka.html

• 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/nutcracker-story.html

• http://www.emergingpictures.com/pharoahs_daughter.htm 

• http://www.abt.org/education/archive/choreographers/petipa_m.html