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The Future of Arabic Music Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2016 The uturF e of Arabic Music: No sound without silence Nesma Magdy Khodier VCUQ [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the Archaeological Anthropology Commons, Art and Materials Conservation Commons, Audio Arts and Acoustics Commons, Communication Technology and New Media Commons, Critical and Cultural Studies Commons, Ethnomusicology Commons, Folklore Commons, Industrial and Product Design Commons, Interdisciplinary Arts and Media Commons, Leisure Studies Commons, Musicology Commons, Music Practice Commons, Music Theory Commons, Near and Middle Eastern Studies Commons, Regional Sociology Commons, Science and Technology Studies Commons, Social and Cultural Anthropology Commons, Social Media Commons, Social Work Commons, and the Sociology of Culture Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/4170 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Approval certificate forNesma Magdy Khodier for the thesis project entitled THE FUTURE OF ARABIC MUSIC: NO SOUND WITHOUT SILENCE submitted to the faculty of the Master of Fine Arts in Design of Virginia Commonwealth University in Qatar in partial fulfillment for the degree, Master of Fine Arts in Design. Nesma Khodier, BFA Visual Graphic Communication, Alexandria University, Egypt, June 2007. MFA in Design Studies, Virginia Commonwealth University in Qatar, Doha Qatar, May 2016. Virginia Commonwealth University in Qatar, Doha Qatar, May 2016. ................................................................ Diane Derr, Primary Advisor Curator, Innovative media studio/Assistant Professor, Graduate Studies ................................................................ Dr.Thomas Modeen Secondary Advisor Associate Professor, Graduate Studies ................................................................ John Burrow, Secondary Advisor Media Artist, Sound Engineer and musician ................................................................ Dr.Robert M Bianchi, Reader Assistant Professor, English ................................................................ Rab McClure, Interim Director Graduate Studies ................................................................ Dr. Akel I. Kahera, Dean Virginia Commonwealth University in Qatar ................................................................ Dr. F. Douglas Boudinot, Dean School of Graduate Studies, Virginia Commonwealth University In the name of Allah, the Most Beneficent, the Most Merciful ACKNOWLEDGEMENT It is a pleasure to thank my interdisciplinary team who made this research possible. It was tough to embed music theories, performers’ behaviors and instruments’ functions into design perspective, but they were knowledgable and powerful enough to guide me through my journey. I owe my deepest gratitude to my main advisor, Professor Diane Derr for being a role model of hard work as well as for her support and encouragment to my composite studies. John Burrow who exposed me to digital music theories, for the first time in my life, he has the instrumental role to solve the computer algorithms in my digital KANUD. Dr, Thomas Modeen who showed me the creative methods of thinking along with his amazing architectural solutions. Richard Blackwell to expose to me the CNC router and hardwares in the woodshop. I am also thankful to Dr, Robert Bianchi for his constructive feedback, Richard Lombard to provide me all materials needed for manufacturing. Thank you all for being a strong team to allow me accomplish this work in such short time. Faculty of Music Education at Helwan University in Egypt, I am thankful to Dr. Ameera Farag for her lovely hospitality and valuable interview. I would like also to acknowledge Dr. Samah Ismael who guided me to the Arabic music theories which facilitate my conclusions and final direction. Qatar Music Academy (QMA), I am thankful to Professor Yassin Ayari and Tawfiq Mirkhan for thier valuable interviews. these interviews provided the research with information to build constructive archive of Arabic music background. This thesis would have never been possible without the smile of my son Malek, i owe you lots and lots of fun hours. My loving husband Abdalla, you helped me to keep things in perspective. Words would never say how grateful I am to both of you. I dedicate this thesis to my family who continuously inspires me to pursue meaning. Thanks for your support and unconditional love. TABLE OF CONTENTS 1. Abstract ……………………………………………………………………….….. 9 2. Introduction………………………………………………………………………. 11 3. Problem Statement………………………………………………………..…….. 14 4. Justification ……………………………………………………….……………... 16 4.1. Significance of Arabic Music 4.2. Generative music as an approach to Arabic music 5. Delimitations………………………………………………………….……….…. 22 6. Background………………………………………….…………………………… 23 6.1. Review of literature 6.2. Precedents 7. Investigation…………………………….…..…………..……………….….….... 40 7.1. Instrument and Behavior …………………………….…..…..….….. 40 - Tonal Pocket - Musiclay 7.2. Music Gestural Technology versus Arabic music creativity .….….. 46 - Geco and Leap Motion 8. Kanud ………………………………………………………..…….……..………. 48 - Prelude - Features - Design and digital fabrication - Tech processes - MaxMSP - Sonic Sculptures 9. Further Directions …………………………………………………..…………. 59 10. Conclusions ………………………………………………………..…….…….. 60 11. Exhibition ………………………………………………….....….…................. 61 12. Bibliography ……………………………………………….………………....... 55 13. List of figures ………………………………………………..…………….….... 57 For centuries, Arabic music has been intrinsically linked to Arab 1. ABSTRACT culture and by extension bonded to the environmental landscape of the region, reflecting their emotions, moods, and behaviors. Numerous technological advancements in the latter half of the twentieth century, have greatly affected the rich legacy of Arabic music, significantly impacting the natural progression of traditional Arabic musical genres, scales, and instrumentation. This thesis serves as an introduction to generative methods of music production, specifically music generated through gestures. Through generative music, and its unique ability to map gestures to different musical parameters, music can be produced using computer algorithms. The outcome of this thesis aims to demystify the intricacies of recent technological advancements to enable the musician and the audience to incorporate responsive technology into their ensembles. This approach aims to further evolve Arabic music, using the concepts of Arabic music creativity while addressing international accessibility through integration. The intention of this thesis is to bridge between the contemporary and the traditional Arabic audiences and provides insight into a possible future of Arabic music based on its own fundamental principles. 11 12 Encompassing a vast area of land from the Atlas Mountains, 2. INTRODUCTION tracing up along the North African coastline, and spanning out toward the Arabian Gulf, Arab music, as a cultural identity, is both, steeped in tradition and rich in diversity. Although many tend to oversimplify the climate in this region, typically describing it is as only being arid and dry, the reality is that it comprises many different geographical features and climate types. In a similar manner, the people and societies of this region take inspiration from the environmental diversity and imbue it into their music. In fact, the very qualities and tones created by many of the region’s musical instruments are reminiscent of their surrounding landscape. Authentic (traditional) wooden instruments, like the ever-popular, pear-shaped stringed instrument, the Oud, for instance, or the Kanun, or the Ney (among others), each draws heavily from the myriad of sounds heard across the deserts, mountains, rivers, seas, and fertile lands of the Arab Region. Naturally, this concept, although foreign to most outsiders, is one that resonates seamlessly with, both, the region’s people and their traditions. In reflection, the collaboration between many Arab medieval scientists and musicians invented their unique instruments and distinctive musical scales based on developments in ancient Greek music. Due to the consistency and the variety of these musical fundamentals, it is interesting to see that these same distinct Arabic scales are still performed, using the same authentic, wooden instruments (Traditional Arabic instruments) in many of today’s Arabic concerts. Consequently, many of the younger audience members feel disconnected from the music, at these concerts. They are often too confused, or too disinterested, to listen to those softer-sounding, and non- powerful Arabic voices, or instruments. Traditional Arabic instruments are completely made of wood and therefore produce far less energy and sound. This is in stark contrast to the much louder and more energetic music genres such as Techno-music. Numerous technological advancements, developed during the latter half of the twentieth century, have greatly affected the rich 13 legacy of Arabic music. This directional “shift” in contemporary music significantly impacted the natural progression of traditional Arabic musical genres, scales, and instrumentation.
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