THE MIDDLE EAST MUSIC IN THE CRADLE OF GREAT RELIGIONS Islam, Iran, Arabic, Sufism, Judaism © TAYLOR & FRANCIS

MIDDLE EAST MAP © TAYLOR & FRANCIS

BACKGROUND PREPARATION  West Asia & North Africa  Islam, Christianity, Judaism  Ancient civilizations  Influence on Europe  Arabic, Turkish & Persian © TAYLOR & FRANCIS

ISLAM & ARABIC MUSIC Site 1: Islamic “ Call to Prayer ” Site 2: Arabic Taqasim for ‘Ud and Buzuq © TAYLOR & FRANCIS

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] © TAYLOR & FRANCIS

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 © TAYLOR & FRANCIS

CULTURAL CONSIDERATIONS  Muhammad  Koran  Muslim  Mosque  Mihrab  Mecca  The Ka’aba  Minaret  Muezzin The Ka’aba © TAYLOR & FRANCIS

The “Blue Mosque” Sultanahmet Camii mosque in Istanbul, Turkey © TAYLOR & FRANCIS

(NON-MUSIC) VS. MUSIC  Family and Celebratory Music  Occupational music (Caravan, shepherd, work songs)  Military Music © TAYLOR & FRANCIS

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’UdBuzuq © TAYLOR & FRANCIS

CULTURAL CONSIDERATIONS  Islamic attitudes toward music  Legitimate  Music for worship or function  Controversial  “ Art ” or “ Entertainment ”  Non-Islamic sacred music  Illegitimate  Sensual music  Haram © TAYLOR & FRANCIS

Iran Site 3: Dastgah for Santur and Voice © Taylor & Francis

 Largely mountainous  Persian, not Arabic  Predominantly Shi ’ a Muslim  Theocracy since 1979 Ayatollah Ruhollah Khomeinii (1900–1989) © Taylor & Francis

 First Impressions Melancholy Melisma  Aural Analysis Santur Dastgah  Gusheh  Radif Santur © Taylor & Francis

 Schools of Dastgah  Non-meter over meter  Classical underground © Taylor & Francis

Egypt Site 4: Arabic Takht Ensemble © Taylor & Francis

Arrival Egypt Pyramids & Pharaohs Suez Canal – 1869 Modern Era Temple of Ramses II at Abu Simbel © Taylor & Francis

Site 4: Arabic Takht Ensemble First Impressions ◦ Graceful “ belly ” dance music Aural Analysis ◦ Takht  Melody: ud, kemanja, kanun, ney  Rhythm: riqq, tablah (darabukka/dombak) ◦ Dulab, Bashraf & Iqa-at © Taylor & Francis

Takht Instruments Front Row, L to R: Ud, Kanun, Tablah Above: Duff, Tablah, and Riqq Right: Ney © Taylor & Francis

Cultural Considerations “Belly” Dance Music evokes emotion A “belly” dancer from Morocco © Taylor & Francis

Sufism Site 5: Dhikr Ceremony © Taylor & Francis

Arrival: Sufism  “ Mystical ” branch of Islam  Noted for their woolen ( suf ) robes  Most common in Turkey and Pakistan  Monasteries and dervish © Taylor & Francis

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 center Followed by:  Melismatic chant in free rhythm  Deep, raspy “ Allah ” chant © Taylor & Francis

Cultural Considerations  Dhikr – “Remembrance”  Music as a “spiritual ladder”  Spiritual ecstasy - Oneness with Allah  “Whirling” dervish Sufis “whirling” during dhikr ritual © Taylor & Francis

Judaism Site 6: Liturgical Cantillation © Taylor & Francis

Arrival: Judaism Israel –The Holy Land The Diaspora Sephardic – Ashkenazi A man prays at the Wailing Wall in Jerusalem © Taylor & Francis

Site 6: Jewish Cantillation First Impressions –Sung recitation Aural Analysis –Shofar & Cantor –“Speech” rhythm –Melodic formulas Shofar © Taylor & Francis

Cultural Considerations Torah Synagogue Torah © Taylor & Francis