Qian
It is evident that the history of Arabic music is unique as compared to other known musical cultures. This tradition has been orally transmitted through generations which potentially leaves room for individual distortions without defense mechanism or system. The initial nature of Arabic music has gradually evolved with time, and hence, most Arabs today may not fully understand the true meaning and implications of Arabic music. It is imperative to comprehend the fundamentals of Arabian music, the rhythm practices, vital themes, customs of notation, the tonal systems, and a wide variety of genres.
Slavery in the medieval Middle East was a way of life as opposed to it is viewed today as a malevolence and legally indictable. Slavery was distinctly similar to a system in different regions but still varied concerning their practices according to culture and traditions. Among the similarities, is the frequent use of women as musicians and courtesans (Bohlman, 2013). The Qiyan was a unique category of female slaves trained in the various fields of music and poetry. They were mostly referred to as the singing slave women.
Qiyan women were the epitome of musical skill and commanded a certain level of respect and belonged to a higher class as compared to the other common slaves. The singing female slaves competed for favor among the slaves along with other men and a category of entertainers known as the mukhannathun (Rowbotham, 2016). However, there was no prejudice; all genders, slaves, and free people contributed predominantly to the development of Arabian music. Unfortunately, there is no surviving literal text that exists today written by the Qiyan women.
The Nahda is a term that relates to the Arab Enlightenment or Renaissance. It was a period in history that was characterized by intellectual reform and development. Nahda was marked by unique and extraordinary music innovation. This development arose from numerous and significant economic reforms that were made by Muhammad Ali in order to recover from the effects of the Napoleonic invasion of Egypt in 1798 (Rowbotham, 2016). Through the 19th and 20th centuries, numerous facets of Arab music changed initially remaining tightly knit to the previous existing classical forms and gradually exploring and changing through generations (Bohlman, 2013). The themes in music shifted to focusing more on the challenges that were faced by the Arab community during colonialism and the modern era.
Among the numerous melodic musical extemporizations is Taqsim which usually performed before an Arabic music composition. Taqsim conventionally was required to follow a specific harmonious progression beginning from a precise Arabic maqam (Naumann, Ouseley, & Praeger, 2013). The first few Maqam must always belong to the lower Ajnas or genre which introduces the listener to the Maqam. Consequently, after the brief introduction, the performer is allowed to modulate to various maqams as long as he or she returns to the initial one. Taqsim can either be a solo instrument presentation or backed up by any other instrumentalist.
Ethnomusicology, unlike musicology, focuses primarily on the study of the non-western musical styles, genres, and themes. This category does not only study the music solely but also focuses on the social, cultural, geographic, and racial contexts (Naumann, Ouseley, & Praeger, 2013). This branch of musicology is dependent on the development of the music of world cultures from the past to the present while emphasizing its influences on the numerous societies. According to the study, ethnomusicology is just but a distinct reflection of the alterations in every field of scientific nature, as the art develops, it defines itself more sharply and begins to diverge from a smaller to a larger field. Ethnomusicology as a discipline is understandably significant in order to provide an analysis from a mass of information, taxonomy must be paramount.
The history of the Arabic music can be divided into multiple main periods. The first was was named the period of Jahiliyyah, a term that was developed by the muslim scholars of the later eras. The nature of the music during this period is potrayed as simple and primitive as compared to those that followed thereafter. At this time the lyrics held more prominence over the melody (Naumann, Ouseley, & Praeger, 2013). There are numerous individuals that contributed to the development and growth of music during this era among them Ziryab who was a musician nurtured by the caliph’s court. He came up with the Andalusian metastrustructure that is composed of 24 structures and began the use of a five-string oud which was better than the four-string one. Consequently, the music in the subsequent years collides with western music and evolves significantly at the end of the 19th century.
Takht is the representative of the ensemble of Arab music that varies according to geographical aspects. For instance, in Lebanon, the collaboration consists of an oud, the violin, and the qanun. It gives an opportunity for levels sophistication, the instruments may be played in solo or heterophonically, and the performer may be joined by a female or male vocalist that provide specific sections (Maalouf, 2011). A larger form of takht is a firqa in which eight or more vocalists can join the performer. Heterophony in takht is a type of texture in music that is defined by concurrent variation of a solitary musical line as opposed to monophony that focuses on a single basic piece of melody.
Arabic choral group singing dates back centuries in the history of Arabic music. Today, this groups called havurot zemer and harmonic assemblies come together to explore music. Among other aspects of Arabic music is mawwal which is a traditional genre of melody defined by slow beats and depicts a somewhat sentimental nature (Maalouf, 2011). It is normally sang in situations such as death or heartbreak. The performers normally applied the use of an ancient double clarinet and were breathing in a circular manner in order to produce a continuous melody.
Music is a fundamentally underrated aspect of social and cultural development today. Arabian music has developed through the years from simplicity to complexity in all forms, including genres and styles of music. By understanding how Arabian music has changed over time, we comprehend and appreciate its evolution. By understanding the past, a sense of identity and moral understanding is gained in adverse facets.