THE MIDDLE EAST

MUSIC IN THE CRADLE OF GREAT RELIGIONS

Islam, Iran, Arabic, Sufism, Judaism

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MIDDLE EAST MAP

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BACKGROUND PREPARATION

West Asia & North Africa Islam, Christianity, Judaism Ancient civilizations Influence on Europe Arabic, Turkish & Persian

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ISLAM & ARABIC MUSIC

Site 1: Islamic “Call to Prayer”Site 2: Arabic Taqasim for ‘Ud and Buzuq

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Non-music (vs. Music)

Koranic Chant Adhan – Call to Prayer Pilgrimage Chants (Hajj) Eulogy Chants & Chanted Poetry

“Alif Laam Raa. A book which we have revealed to you (Muhammad) so that you may lead the people from out of the darknesses into the light by their Lord's

leave to the path of the All-Mighty, the Praiseworthy.” [Koran 14:1]

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Site 1: Islamic “Call to Prayer”

First Impressions Heightened speech

Aural Analysis Melismatic male voice “Allah” – God is Great

A muezzin performs the Call to Prayer

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CULTURAL CONSIDERATIONS

Muhammad Koran

Muslim Mosque

Mihrab Mecca

The Ka’aba Minaret

Muezzin

The Ka’aba

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The “Blue Mosque”

Sultanahmet Camii mosque in Istanbul, Turkey

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(NON-MUSIC) VS. MUSIC

Family and Celebratory Music Occupational music

(Caravan, shepherd, work songs) Military Music

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Site 2: Arabic Taqasim

First Impressions Improvising chordophones

Aural Analysis Ud and Buzuq Maqam – “Composition Kit”

Taqasim

Free Rhythm 24 pitches to the octave

Al’Ud Buzuq

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CULTURAL CONSIDERATIONS

Islamic attitudes toward music Legitimate

Music for worship or function

Controversial “Art” or “Entertainment” Non-Islamic sacred music

Illegitimate Sensual music Haram

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IranIranSite 3: Dastgah for Santur and Voice

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Largely mountainous Persian, not Arabic Predominantly Shi’a Muslim Theocracy since 1979

Ayatollah Ruhollah Khomeinii(1900–1989)

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First Impressions• Melancholy Melisma

Aural Analysis• Santur• Dastgah

Gusheh Radif

Santur

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Schools of Dastgah Non-meter over

meter Classical

underground

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EgyptSite 4: Arabic

Takht Ensemble

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Arrival EgyptArrival Egypt

Pyramids & PharaohsSuez Canal – 1869Modern Era

Temple of Ramses II at Abu Simbel

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Site 4: Arabic Site 4: Arabic TakhtTakht EnsembleEnsembleFirst Impressions

◦Graceful “belly” dance music

Aural Analysis◦Takht

Melody: ud, kemanja, kanun, ney Rhythm: riqq, tablah

(darabukka/dombak)

◦Dulab, Bashraf & Iqa-at

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TakhtTakht Instruments Instruments

Front Row, L to R:

Ud, Kanun, Tablah

Above: Duff, Tablah, and Riqq

Right: Ney

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Cultural ConsiderationsCultural Considerations

“Belly” DanceMusic evokes emotion

A “belly” dancer from Morocco

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SufismSite 5: Dhikr Ceremony

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Arrival: Sufism “Mystical” branch of Islam

Noted for their woolen (suf) robes

Most common in Turkey and Pakistan

Monasteries and dervish

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Site 5: Sufi Dhikr Ceremony

First Impressions “Spinning top” vocal swirl Vocal cry over hearty chant

Aural Analysis Ney and “takht” instruments Unison singing with shifting tonal centerFollowed by: Melismatic chant in free rhythm Deep, raspy “Allah” chant

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Cultural Considerations Dhikr –

“Remembrance”

Music as a“spiritual ladder”

Spiritual ecstasy - Oneness with Allah

“Whirling” dervishSufis “whirling” during dhikr ritual

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Judaism

Site 6: Liturgical Cantillation

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Arrival: Judaism

Israel– The Holy Land

The DiasporaSephardic – Ashkenazi

A man prays at the Wailing Wall in Jerusalem

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Site 6: Jewish Cantillation

First Impressions– Sung recitation

Aural Analysis– Shofar & Cantor– “Speech” rhythm– Melodic formulas

ShofarShofar

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Cultural Considerations

Torah Synagogue

TorahTorah

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