Classical
| There are many genders and musical forms in Arab music arts heritage. The first are vocal music genders, such as Dawr, short and long song and Qasidah. The second type is the musical treatment genders, such as Sama’ai, Longa, Peshrav and Dowlab. Vocals in local Arab music include Nuba, Malof and Malhon in Morocco, Algeria, Tunisia and Libya, and Maqamt in Iraq, Qiddod in Syria, Taqtoqa, in Egypt and Sout in Arabian Peninsula. But today all of these styles and genders are exercised within the heritage and traditional music, and most of the music used today is called modern, youth or electronic music, and is played at a variety of places for entertainment and enjoymentOther regional styles that have enjoyed popular music status throughout the Arab world include the Algerian raï, the Moroccan Gnawa, the Gulfian sawt, the Egyptian el gil and Turkish Arabesque-pop music.
Secular genres include maqam al-iraqi, andalusi nubah, muwashshah, Fjiri songs, qasidah, layali, mawwal, taqsim, bashraf, sama’i, tashmilah, dulab, sawt, Aissawa / Aissaoua, Berber, Bedouin, Andalus, Gharnati, Griya, Al Jeel, Malhun, Malouf, Rai, Shepardic, Chaabi / Shaabi. Vocal TraditionsArab classical music is known for its famed virtuoso singers, who sing long, elaborately ornamented, melismatic tunes, and are known for driving audiences into ecstasy. Its traditions come from pre-Islamic times, when female singing slaves entertained the wealthy, and inspired warriors on the battlefield with their rajaz poetry, also performing at weddings. Waslah, Fasil Longa, Dour /adwaan, nawbah The Bashraf (plural Basharef) A composed genre comprised of 4 sections (khana, plural khanat), each followed by a refrain (taslim). The name comes from Persian peshrev, which means “that which precedes”, because a Bashraf is usually played as an opening composition in a suite (or Fasl in Turkish). The Longa (plural Longas) A lively dance form usually in simple 2/4 meter (called fox). The Longa is a Turkish / Eastern European style that made it into Arabic music. It consists of two to four couplets (khanat) which follow a rondo like-like format with a recurring passage or refrain (taslim) The Maqtou’a Mousiqiyya This is an instrumental composition performed by an ensemble large than the traditional takht. In general it incorporates melodic themes and rhythmic patterns found in rural vocal and instrumental folk and dance music. Those themes are developed into new diverse musical sections, with or without repeated refrain. Orchestration: first, in the sense of melodic distribution between a solo instrument and orchestra. Second in the sense of rhythmic counterpointal figures using heterophony at times; change of rhythm with each new melodic section; melodic complexity in the musical phrases (length, accidentals, leaps, modulation). Contrary to the Saltanah (reaching musical ecstasy through individual virtuosity) element found in traditional instrumental forms, the Maqtou’a is expressional (ta’biriyyah). |
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