History Of Arabic Music Essays - Middle Eastern Music, Musicology

History of Arabic Music History of Arabic Music Arabic music is my favorite musical styling. Although I have come to enjoy classical and contemporary styling as well, Arabic music has almost an innate quality of enjoyment for me. Its songs speak of the life and culture of Arabic countries and its melody is not commonly heard on American radio stations. Its songs tell the story of the Arabic people, people who are similar to Americans but also different in many ways. The songs are a romantic and wonderful inspiration to me while living and studying in America. The tradition of Arabic music has been cultivated throughout Arab regions for thousands of years. Although it has undergone many changes over the centuries, it has retained certain distinctive traits. The Arabic music tradition developed in the courts of dynasties in the Islamic empire from the 7th century to the 13th century. It flourished during the Umayyad dynasty in the 7th century and 8th century in Syria. Great performers were drawn to Baghdad, now the capital of Iraq, under such rulers as Harun ar-Rashid, who was a patron of the musical arts during the late 700s.3 The cities of the Islamic empire, from Spain across North Africa and throughout the Middle East, boasted many fine musicians. These early musicians were often composers and poets as well as performers. Although the major writings on Arab music appeared after the spread of Islam in the beginning of the 7th century, the music tradition had already begun. Before the spread of Islam, Arab music incorporated music traditions of the Sassanid dynasty (224-641) in Persia and the early Byzantine empire (4th century to 6th century) and of sung poetry from the Arabian Peninsula.3 Arabic-speaking scholars also studied the treatises of ancient Greek philosophers on music. Music theorists of the 10th century and 11th century, such as al-Farabi and Avicenna, produced their own theories of music based on what they had learned from the Greeks and on the music of their own times. Greek works translated by the Arab scholars were later studied by European scientists and philosophers. Melody and Rhythm Arabic music is created using unharmonized melodic and rhythmic systems. Arabic melodies draw from a vast array of models, or melodic modes, known as maqamat. Arabic books on music include as many as 52 melodic modes, of which at least 12 are commonly used.3 These modes feature more tones than are present in the Western musical system, including notably smaller intervals that are sometimes called microtones, or half-flats and half-sharps. Arabic melodies frequently use the augmented second interval, an interval larger than those of most Western melodies.3 The sound of Arabic music is richly melodic and offers opportunity for subtle nuance and creative variation. The rhythmic structure of Arabic music is similarly complex. Rhythmic patterns have up to 48 beats and typically include several downbeats (called dums) as well as upbeats (called taks) and silences, or rests.3 To grasp a rhythmic mode, the listener must hear a relatively long pattern. Moreover, the performers do not simply play the pattern; they elaborate upon and ornament it. Often the pattern is recognizable by the arrangement of downbeats. In Arab tradition, good musicians offer something new in each performance by varying and improvising on known pieces or models in a fashion similar to that of jazz musicians. The inventions of musicians can be lengthy, extending ten-minute compositions into hour-long performances that bear only a skeletal resemblance to the models. The inventions of the musician traditionally depend upon the response of the audience. Listeners are expected to react during the performance, either verbally or with applause. Quiet is interpreted as disinterest or dislike. The audience members, in this tradition, are active participants in determining the length of the performance and in shaping the piece of music by encouraging musicians to either repeat a section of the piece or to move to the next section. Modern Era Born of the cultures of the Arab World stretching from Morocco in the west to Iraq in the east, Arabic music is becoming popular world-wide. It is made up of an astonishing variety of folk, classical, and popular musical traditions. Many of these have survived for centuries, reflecting the musical sensibilities of the ancient world as well as the Middle Ages. While each region within the Arab World has its distinctive styles, commonalities of instrumentation, modal structure, rhythmic patterns, performance techniques, and lyric content extend across the area, forming a fascinating weaving of artistic tradition that changes and evolves while remaining true to its ancient heritage. In the last decades a growing global audience has come to appreciate the richness of this music. The global

Social Policy Level 5

Social Policy Level 5 Farrar, David. (July 2003). www.kiwiblog.co.nzThis is a personal political blog of David Farrar. Having worked in politics his whole career he brings great knowledge on how the political system works. His site uses simple language and is very easy to understand. For each post he attaches numerous sources for and against the topic being discussed. Farrar believes there is no longer a need for Maori Seats in Parliament. His site is useful for showing how politics works in New Zealand.George, Garth. (2009, September 3). Maori seats the only way to gain power .New Zealand Herald, p. 13.This article discusses the need for Maori representation in Parliament. His points are clear and easy to understand. Conducting research by asserting himself into the Maori way of life for over a year George identifies the differences in Maori and Pakeha culture. This article is helpful in showing the contrasts between the two different cultures in regards to their political endeavours.The Waitangi Sheet o f the Treaty of Waitangi, sign...Joseph, Philip A. (2008).The Maori seats in Parliament. Auckland, New Zealand: New Zealand Business Roundtable.This journal proposes that the separation of Maori representation in Parliament be abolished. Joseph promotes four concepts in regards to Maori representation and explores two quarrels that are affiliated to the argument for abolition. This is a helpful source for those wanting to see in-depth explanations of current arguments for abolishing Maori seats.Reeves, Simon. (1996). To honor the treaty: The argument for equal seats. Auckland, New Zealand: Earth Restoration.Simon Reeves is a barrister and solicitor of the High Court of New Zealand. Reeves writes in-depth about the Treaty of Waitangi and its power and use for Maoris' in Parliament. Using examples of other indigenous races and how they have been represented in their country Parliament. He believes there should...