Maqam: The Mood of Arabian Music An Exploration of the Arabian Musical Modes for Western Audiences
by Rafan Ahmed Bahkali
B.A. in House Economy Science, June 2011, Jazan University, Kingdom of Saudi Arabia
A Thesis Submitted to
The Faculty of The Columbian College of Arts and Science of George Washington University in partial fulfillment of the requirements for the degree of Master of Arts
May 20, 2018
Thesis directed by
Barbara Brennan Visiting Assistant Professor of Exhibition Design © Copyright 2018 by Rafan Bahkali All rights reserved
ii Acknowledgments
The author wishes to acknowledge the following people: To my professors, Nigel Briggs and Naomi Crellin, and Barbara Brennan for their help and support over the past two years. A big thanks to my thesis cohorts for their creative energy and collaborative spirit.
My sincerest love and gratitude to Essam for always listening, supporting, and giving me the “personal space” I needed throughout this process. Last, but certainly not least, I feel so blessed for having a supporting and loving mother, who her faith in me was my motivation throughout this journey.
iii Abstract of Thesis
Maqam: The Mood of Arabian Music An Exploration of the Arabian Musical Modes for Western Audiences
“Maqam” is an exhibition proposal that represents music as a fascinating and unique side of Arabic culture. This exhibition utilizes music as the lens to a multi-sensory and immersive experience that engages audiences with the beauty of Arabic culture.
Located in the international gallery at Freer and Sackler Galleries, DC, this exhibition builds upon the museum mission of exploring and displaying cultural art that stretches from East Asia to the very west of the African content. Even though this exhibition may embrace the different type of visitors who have interests in music and cultures, it is targeting Western millennials and adult professionals as they represent the widest demographic of the museum visitors.
Maqam is a unique Arabic musical concept that is traditionally believed to express different emotions and modes through melodies. As a cultural heritage, the
Maqam significance comes from the role it plays in representing a distinct connection between the Arabs and emotions. The ultimate goal of this exhibition is to draw interests among Western population to accept and explore the bright side of the Arab’s culture.
This exhibition is intended to engage people with Arabic music through deeper and personal understanding of the Maqam concept. Through multi-leveled interactive experience, audiences will listen, see, touch, and connect with the Arabic musical culture.
iv Table of Contents
Abstract of Thesis ……………………………………………………………………...... iv List of Figures …………………………………………………………………….…….. vi Introduction ……………………………………….………………………………...… 1-2 Exhibition Mission/Message ………………………………………..…………………… 3 Chapter 1: Exhibition Topic Research & Overview ……..……………………...... 4 Chapter 2: Site Site Analysis …………………………………………………………………... 7-8 Precedent Exhibitions ……………………………………………...………… 9-11 Challenges ……………………………………………………………..…… 11-12 Chapter 3: Audience Audience Analysis ………………………………………………………..… 13-15 Challenges …………………………………….…………………………..……. 15 Chapter 4: Interpretive Strategy Audience Interpretive Strategy ………………………………………..……. 16-17 Topic Interpretive Strategy ……………………………………………….… 18-20 Design Interpretive Strategy ……………………………………………..…. 21-22 Chapter 5: Exhibition Design Content Narrative …………………………………….……………….……. 23-25 Design Strategy …………………………………………………………..…. 25-26 Visitor Experience ……………………….…………………………….…… 26-28 Conclusion ……………………………………………………………………….…….. 29 Bibliography …………………………………………………………….………….. 30-29 Appendix I: Precedents ………………………………………………………...…… 33-36 Appendix II: Resources …………………………………………………………...... 37-42 Appendix III: Initial Illustrations …………………………………………………..…... 43 Appendix III: Design Document …………………………….……………………..…... 44
v List of Figures
Figure 1. Freer & Sackler Galleries of Art …………………………………………….... 7
Figure 2. The Art of The Qur’an Exhibition ……………………………………...……... 9
Figure 3. Turquoise Mountain Exhibition …………………………...…………….…... 10
Figure 4. Exhibition Entrances and Exits …...………………………………..………... 11
Figure 5. Experience Diagram …………………………………………….….………... 18
Figure 6. Content Diagram …………………………………………...………………... 19
Figure 7. Spatial Diagram …………………………………………………………….... 21
Figure 8. Content Layout & Visitor Flow ………………………………………….…... 23
Figure 9. Haus der Music ……………………………………………….………….…... 33
Figure 10. The Hunt at the Museum of Islamic Art……………………………..….…... 34
Figure 11. The Hunt at the Museum of Islamic Art……………………………..…….... 34
Figure 12. The Grammy Museum ………………………………….....……...... 35
Figure 13. Personas ……………………………………………………………..…….... 37
Figure 14. Hierarchy of Social Participation ……………………………..…………..... 38
vi Introduction
In such a critical time where negative political voices are proclaiming cultural isolationism, it is vital to utilize art as a universal language to resist all that negativity and emphasize on shortening the distances between diverse nations and cultures. Music has a robust capacity for shaping and delivering human interchange, and it can virtually create bridges to cross the vast distances separating cultures. When creating art, artists seem to attempt to communicate emotionally with those within their own culture, yet the honest work transcends its culture and speaks directly to our common humanity. Thus, I believe now is the time for aggressively promoting multiculturalism through art more than ever before.
“One rhythm, one song, can pique interest and bring acceptance of a culture.”1
Bishr Hijazi
In an attempt to connect Arab’s culture to Western societies, I intend to use music as a rich and beautiful expression of the Arabic culture. Through this exhibition topic, I draw paths to understand and celebrate the divergent perspectives on how music is heard, constructed and applied as an expressive art within Arabic culture. I believe that
Arabic culture has been misinterpreted within the current political context. Therefore, spotting the light on music as a bright side of the Arab’s culture will reveal the dark shades and
1 Nile, Amy. “A Las Vegas Sergeon Educates People about Arabic Culture Through Music.” Las Vegas Review Journal. Last modified Jun 25, 2016. Retrieved from https://www.reviewjournal.com/life/a-las- vegas-surgeon-educates-people-about-arabic-culture-through-music/
1 vanish the negative reputations. The Maqam phenomenon will be the lens to an exploratory and exciting journey of the Arab’s music that will draw curiosity and bring acceptance of the culture within the Western population.
2 Exhibition Mission
This exhibition aims to demonstrate the Arab’s musical identity, explore the differences between the Arabian and Western music, and bridge the gap between the cultures by utilizing music and emotions to connect people.
Through this exhibition, the audience will be enticed and inspired by the Arabian music and the influence it makes on the listeners regardless of their musical background.
Discovering the Maqam phenomenon along with the associated elements that create the
Maqam melodic sound will open the door to a journey of joy and appreciation for the
Arabic musical culture and performance. Revealing the background of the different
Maqamat, plural of Maqam, will encourage the audience to understand the influence that
Arabic and Western cultures have on each other.
The ultimate goal is for the audience to leave the exhibition with a positive impression that they carry with them beyond the exhibition walls and spread it out among their societies.
3 Chapter1: Exhibition Topic Research & Overview
The majority of musicians define music as the global language.2 In an attempt to shorten the distance between cultures and draw interests among different nations, finding a universal method of communication, such as music, offers access for experiencing various cultures and ways of communication and expressions other than verbal of written language. Thus, listening to the Arabs music means experiencing an essential part of music that exists as a result of cumulative cultures stretching from the Near East to North
Africa.
Music of the Arabs seems to be strongly interconnected with emotional elements.
For the western ears, it is often hard to understand the Arabic music without having the knowledge of the structural elements that form the Arabian music.3 One of these basic elements is the Maqam phenomenon or the mode, which this exhibition is meant to represent.
It is impossible to come across a discussion or a book about the Arabian music without illustrating the Maqamat.
“The Maqam phenomenon, a technique of improvisation unique to
Arabian art music, is at root of all genres of improvised vocal and
instrumental music of the Arabs. This technique of improvisation is found
throughout the entire Arabian world.4”
2 https://phys.org/news/2018-01-music-universal-language.html 3 Muallem, David. The Maqam Book. (Israel: OR-TAV Music Publications, 2010). 23 4 T Touma, Habib. The Music of the Arabs. (Oregon: Amadeus Press,2003). 38
4 The Maqam phenomenon is one of the foundation stones that define the Arab’s music mentality as it expresses different moods through musical tones. Arabs musicians claim that within 48 Maqamat belonging to 8 families, each Maqam evokes a specific emotion or set of emotions in the listeners.5
Moreover, in the ancient Islamic centuries, great scholars believed in Maqam as therapy and established scientific principles concerning musical treatments. Farabi,
Islamic philosopher and music scholar during the time 870-950 CE, classified the effects of the Maqamat on the soul as various feelings such as anguish, fear, security, power, and pleasure.6
However, listeners, regardless of their musical backgrounds, still can feel the emotions of the Arabian music expressed through different Maqamat. A study, The
Delivered Effect of Arabian Musical Modes “Maqamat” within a Group of German
Listeners, supports this hypothesis. The study was attempted to measure the impact of the
Arabian musical modes, the Maqamat, on a sample of listeners who are not accustomed to Arabian music. The result showed that the modes have an impact on German ear, which is generally the same impact that most of the Arabic musicians propose. 7
Therefore, this exhibition aims to introduce the Western ears to the Arabian music through an experiential journey of the Maqam phenomenon. Since music reflects the characteristics of the culture that produce it, a comprehensive demonstration of the
5 Muallem, David. The Maqam Book. (Israel: OR-TAV Music Publications, 2010). 21 6 Somakci. Pinar. “Music Therapy in Islamic Culture.” Turkish Cultural Foundation. Accessed Oct 7, 2017. Retrieved from http://www.turkishmusicportal.org/en/articles/music-therapy-in-islamic-culture 7 Haddad , Rami. “ The Delivered Effect of Arabian Musical Modes-Maqamat- within a Group of German Listeners.” Jordan Journal of the Arts, vol.4, no. 2, 2011, 197-215.
5 cultural aspects of the Arabian music, such as the tradition of performance and the fundamental concepts that have influenced its development, is essential for deep understanding and appreciation of the Maqam sound world.
For more in-depth analysis of the study of the Maqam as a fundamental aspect of the Arabian music identity, the Music of the Arabs book will provide invaluable research material and content for this exhibition. In addition to the previous book, the main reference of this exhibition content is The Maqam Book, in which the author is introducing the Maqam phenomenon to the Western listeners and students through utilizing points of convergence between the Western and Arabian music in order to simplify the concepts and theories of the Maqam.8 Building on this notion, this exhibition could be a bridge where Westerns can cross the gap between the Western and Arabian art music.
8 Muallem, David. The Maqam Book. Israel: OR-TAV Music Publications, 2010
6 Chapter2: Site
Site Analysis
Figure 1. Freer & Sackler Galleries of Art
The Maqam will be located in the Freer and Sackler Galleries, the International
Gallery. The galleries are located in the heart of DC and one of the Smithsonian
Institution museums that are devoted to international-cultural art. The Smithsonian museums are the most visited sights in the city and both tourists and locals first target destination for exploring variant knowledge. The International gallery is held S.D Ripley
Center at the 3rd sublevel of the Freer and Sackler galleries building. The Freer and
7 Sackler are devoted to Asian art as it houses the largest Asian art research library as well as it holds art collections from different parts of Asia, Africa, and America in addition to
Persian and Islamic art.9
As Smithsonian museums, the Freer Gallery of Art and the Arthur M. Sackler
Gallery hold in trust the nation’s extraordinary collections of Asian art and American art of the late nineteenth-century aesthetic movement.
Our mission is to encourage enjoyment and understanding of the arts of Asia and the cultures that produced them. We use works of art to inspire study and provoke thought.10
The galleries attract diverse audiences, more than 127,000 visitors in 2017.11 The
Maqam will target the FMSG existing visitors who are already interested in exploring cultural art exhibitions. The International Gallery is the connecting point between
Freer/Sackler and the National Museum of African Art, as is the Arabian culture that this exhibition aims to communicate to those who are willing to learn something new.
All the above factors make the International Gallery the appropriate site for this exhibition topic. Besides, the FMSG mission and its existing audience motives to visit the exhibitions, the Freer/Sackler is hosting regularly scheduled- international performances and events at the Mayer Auditorium, which may host Arabic musical performances for further demonstration and cohesive experience of the Maqam phenomenon and to stimulate deeper appreciation and understanding of the Arabic musical art.
9 “Freer Gallery of Art.” Smithsonian Institution: Newsdesk. Oct 1, 2017. Retrieved from http://newsdesk.si.edu/factsheets/freer-gallery-art 10 “About Our Work.” Smithsonian Institution: Freer & Sackler. Accessed Oct 7, 2017. Retrieved from https://archive.asia.si.edu/about/ourWork.asp 11 “Visitor Statistics.” Smithsonian Institution: Newsdesk. Accessed Oct 7, 2017. Retrieved from http://newsdesk.si.edu/about/stats
8 Precedent Exhibitions
Freer/Sackler Galleries hosted impressive exhibitions featuring collections and art from the ancient Near East and Islamic world. These major exhibitions invited different audiences to be engaged with the Middle Eastern cultures, aesthetics, and artistry. The public response to these exhibitions was positive, and they attracted not just local but international media attention.
The Art of the Qur’an
Figure 2. The Art of The Quran Exhibition
This exhibition took place between 2016 -2017 at Arthur M. Sackler Gallery. It was the first major United States display of handwritten copies of Islam’s holy text.12
Including artifacts in different sizes and method of display, the exhibition brought the visitors into a journey of discovery and exploration of significant ears of Arabian and
12 Cotter. Holland. “The Art of The Qur’an, rare Peek at Islam’s Holy Text.” The New York Times. November 10, 2016. Accessed March 28, 2018. https://www.nytimes.com/2016/11/11/arts/design/the-art- of-the-quran-a-rare-peek-at-islams-holy-text.html
9 Islamic cultures. People came to the exhibition to learn about the historical context and literature of the holy text. Also, Since Qur’an, over the years, became increasingly treated as an aesthetic object, it was a glorious topic, which visitors had a chance to discover the
Islamic artistry through.
Turquoise Mountain
Figure 3. Turquoise Mountain Exhibition
Different afghan artists displayed their work that included handcrafted jewelry, carved screens and arcades, and contemporary carpets. Each of the artworks told a story of a culture that was transforming by artists in Afghanistan. According to “This exhibition highlights the vitality of these new Afghan artisans and demonstrates the
10 power of art and culture to tell the story of artistic creativity, resilience and hope.”13 In this immersive exhibition, visitors were surrounded by different cultural elements, which were available for them to touch. It invited visitors to explore the birth of a new culture in Afghanistan after years of conflict and neglect.
Challenges
Exhibition Structure
Figure 4. Exhibition Entrances and Exits
The International gallery has a unique structure that makes a challenge regarding the design and visitors flow. The exhibition structure creates a linear space since the exhibition is located in between two museums, the National Museum of African art and
Freer & Sackler galleries. The design of the Maqam exhibition will embrace the linear
13“Turquois Mountain: Artists Transforming Afghanistan.” Artsy. Accessed March 28,2018. https://www.artsy.net/show/smithsonian-freer-and-sackler-galleries-turquoise-mountain-artists- transforming-afghanistan
11 gallery space and utilize it for a central interactive installation that will attract visitors from both entrances.
Way-Finding
The other challenge in this gallery is the marketing and visitor guiding to the exhibition. According to Analysis of Existing Data on Visitors to the Freer and
Sackler Galleries, one of the main problems that visitors face is the poor way-finding in the building.14 Possible solutions to this problem are to be addressed later in the design strategy part.
14 “An Analysis of English Data on Visitors to the Freer and Sackler Galleries.” Smithsonian Institution. November 2007. Retrieved from https://www.si.edu/content/opanda/docs/Rpts2007/07.11.FSGVisitors.Final.pdf. P44.
12 Chapter3: Audience
Audience Analysis
The target audiences of this exhibition are Western millennials and professionals.
This exhibition is designed for people with an existing interest in music, such as musicians, or those who are willing to discover, engage, or learn about other cultures.
According to a study, a Millennial Perspective on Diversity and Multiculturalism,
American millennials are interested in diversity and multiculturalism, and they tend to explore different cultures by experiencing rather than discussing them since they live in diverse societies and are surrounded by diverse friends. Furthermore, they seem to have more sense of inclusion towards diversity than older generations due to the multi- ethnical and racial American society they were raised in.15 Additionally, in an age where social media offers easy access to knowledge and plays an important role in promoting intercultural communication among the users, millennials are considered the first consumers of social media.16 That means they encounter multicultural insights and they already built interest to discover several topics about different cultures. Thus, millennials are the best fit for the exhibition.
15Rochello Ford, Joanna Jenkins, and Sheryl Oliver. “A Millennial Perspective on Diversity and Multiculturalism.” American Advertising Foundation. Accessed Oct 7, 2017. Retrieved from http://www.aaf.org/_PDF/AAF%20Website%20Content/000_Research/Research_Whitepaper_Mi llennialsPerspective.pdf 16Sawyer, R. & Chen, G.M. (2012). e Impact of Social Media on Intercultural Adaptation. Intercultural Communication Studies 21(2): 151-169. Retrieved from http://digitalcommons.uri.edu/cgi/viewcontent.cgi?article=1033&=&context=com_facpubs&a mp=&sei- redir=1&referer=https%253A%252F%252Fscholar.google.com%252Fscholar%253Fhl%253Den %2526as_sdt%253D0%25252C21%2526as_vis%253D1%2526q%253D%252Bmulticulturalism %252Baccessibility%252Bthrough%252Bsocial%252Bmedia%2526btnG%253D#search=%22mu lticulturalism%20accessibility%20through%20social%20media%22
13 Visitors will not need any previous knowledge about Arabian music in order to understand and engage with this exhibition. Through an experiential journey, this exhibition is meant to introduce the Western audience to the Arabian music and its unique concept, the Maqam phenomenon. The target audience can be divided into three demographic segments:
University Students
This segment will include undergrad and grad students who are generally categorized as millennials. One essential aspect of the college experience is diversity and multiculturalism. Students coming from different races and ethnicities are interacting with each other in a daily basis, so they are exposed to different cultures. Besides, within the American students, there is a segment that comes from other less urban areas and gets the opportunity, within DC universities, to be exposed to a new level of diversity.
Furthermore, some universities in the DC area offer majors dedicated to Middle Eastern and Arabs studies. Therefore, in universities’ campuses, American students grow interests in discovering cultures and knowledge beyond their own. This exhibition will provide this audience what could be new knowledge and surprising experience of an enjoying aspect of the Arabic culture that they carry with them and spread out among their peers.
Music Professionals
In this category, visitors include millennials and (40s -50s) age professionals, which are the Freer and Sackler average age visitors, those are already coming to
14 discover the Arabian music beyond surface-level experience. They are coming to learn about the history and theories of the Maqam phenomenon as they will be exposed to new techniques and musical elements that they may explore, compare, and relate to their profession. This exhibition will serve as a platform for them to be inspired and enticed for deeper research about the Arabian musical art.
DC Locals
According to an article was published in the Washington Post, Metropolitan area is the most divers17. DC locals are surrounded with multicultural events and art exhibitions within the city. Also, the Freer and Sackler galleries highest-ranked visitor segment among other visitors are DC locals.18 Many people would like to visit the exhibition because of the popularity of cultural events and the rise of multiculturalism in the area.
Challenges
• Attracting people and making them spend more time in the exhibition.
• Controlling visitors flow.
• Communicating the musical concept to visitors who are not familiar with Arabic
music.
17 Morello, Carol. “Washington Area One of Nation’s Most Diverse.” The Washington Post. Last modified Sep 6, 2012. Retrieved from https://www.washingtonpost.com/local/washington-area-one-of- nations-most-diverse/2012/09/06/3e441fc4-f791-11e1-8398- 0327ab83ab91_story.html?utm_term=.d7efce9d216a 18 “An Analysis of English Data on Visitors to the Freer and Sackler Galleries.” Smithsonian Institution. November 2007. Retrieved from https://www.si.edu/content/opanda/docs/Rpts2007/07.11.FSGVisitors.Final.pdf. P 8-9.
15 Chapter 4: Interpretive Strategy
Audience Interpretive Strategy
Millennials, from a business and numbers point of view, are the nation’s largest generation. Also, they represent the widest information sharing among adult generation.
Therefore, considering their importance and influence among societies while designing this exhibition is crucial. In order to attract millennials, understanding their expectations of today’s contemporary attractions in museums will help to promote the exhibition topic among a wide range of the population. Millennials are more likely to be connected and in social group. They have high interests in connecting and collaborating with others. Also, they expect to be self-involved in the experiences they have whether physically or conceptually. As much as they feel their importance within the exhibition, their interests grow and the outcomes they get from the exhibition increase.19
Due to the nature of the exhibition topic as a musical concept, the visitors expect to have multi-censoring, enjoying, and entertaining experience. The main challenge of this exhibition is to create a compelling experience that offers opportunities for socializing with others, expressing emotions and thoughts, understanding and engaging with the Arabic musical concept. The exhibition audience will learn through different interactive platforms that vary in terms of the level of interaction. This exhibition is not intended to be a didactic arena for the visitors, but it will be
19 Young. Krystal. “What are Museums doing to Engage Millennials?” Getty Blogs. November 16,2016. Accessed March 27,2018. http://blogs.getty.edu/iris/what-are-museums-doing-to-engage-millennials/
16 emphasized around interactive techniques that meet different levels of social participation.20
Audience interpretive goals:
• The exhibition must be a welcoming environment through its different sections
and experiences.
• This exhibition is a participatory experience that simplifies complicated and
abstract concepts and facilitates engaging with new musical culture.
• The exhibition must offer opportunities for social and dependent interactive
experiences.
• The information must be engaging and relevant to the Western music to facilitate
understanding Arabic music concepts.
• The amount of information must be presented at a level that is just enough to
enhance the participatory experience and not to overwhelm the visitors.
• The environment must convey self-worth and confidence in its visitors.
20 Simon. Nina. “Hierarchy of Social Participation.” Museum2.0(blog). March 20,2007. Accessed March 27,2018. http://museumtwo.blogspot.com/2007/03/hierarchy-of-social-participation.html
17 Topic Interpretive Strategy
Figure 5. Experience Diagram
The exhibition topic is categorized into three main sections: feelings of Maqam, expression of Maqam, and history and musical techniques of Maqam. Each section is presented in different scale through the exhibition. The emotional concept includes illustrations of the traditional interpretations of “modes of Maqams”. This will be presented independent and social experiences. The other subtopic is the Maqam as
18 therapy, which is a personalized immersive section of the exhibition. It is the crucial area within this exhibition that connect visitors with the topic personally while a central area is intended to draw social connection. The central-interactive space is the largest area, and it will also host live performances in regular schedules to provide more engaging and touchy level of interaction for the visitors.
Figure 6. Content Footprint Diagram
The next category or section is the expression of Maqam. This part is an interactive experience that will allow the visitors to explore the Arabic music and be their own masters in it. They will play the Arabic musical instruments in both social and individual levels. This part of Maqam concept will be incorporated into other parts and not represented in a separate section. The last section is the history and techniques of
Maqam, which will be separated into two sections. History of Maqam is represented via
19 an observational experience to show how the concept of Maqam has culturally developed through the time until our current age. In the same footprint scale, the technique section will demonstrate the Arabic musical characteristics and the points of convergence and differentiation between Arabic and Western music.
The proposed exhibition incorporates interactivity throughout the different sections in different levels. The interactive elements will enhance the messages in each section and will allow visitors to navigate through the space independently or in groups.
The interactive experiences will incorporate both participatory and collaborative actions along with observational and comprehensive actions. The interactive sections will have larger footprint that the observational space to encourage participants to engage with the exhibition topics. Interactive sections must not dismiss the fact that people have different levels of comfort in public spaces. At the end, all methods of interaction will promote learning through joy.
20 Design Interpretive Strategy
The interpretive strategy for this exhibition is to:
• Create visual interpretation of Maqam melodic sound.
• Encourage social interaction via open interactive space.
• Utilize the Arabic architectural aesthetics to create immersive cultural
engagement with the space.
• Fostering participation and multi-sensory media
Figure 7. Spatial Diagram
The exhibition space will have an open floor plan with partially closed sections.
Visitors are given a choice to navigate freely through the space and to explore the
different sections and activities based on their interests. Due to the structure of the
space and its location as a connection point between Freer and Sackler Galleries and
21 the National Museum of African Art, parallel level of experience must be offered from both entrances. The design simulates the Arabian ancient aesthetics including colors, textures, and geometrical patterns to create an immersive experience that embraces the Arabic culture within each component. Even though the space will be open for self-navigation, some sections will be closed to control the sound and prevent the distractions among different interactive areas. The interactives will provide various methods of learning and engagement for a different type of visitors.
As crucial the participatory activities in this exhibition, observational areas must be considered to balance the level of interaction within the space. There will be some areas with high level of energy as well as observational and personal areas for visitors who are less inclined to participate.
While participating, interacting, or observing, some visitors must be allowed areas for relaxing and just listen to the music whether for learning or for the sake of having a peaceful time.
The overall environment of the exhibition will balance and sway smoothly between high interactivity, open spaces and observational sections for providing intimate space and ultimate experience.
22 Chapter 5: Exhibition Design
Content narrative
Figure 8. Content layout and visitor flow
This exhibition topic, Maqam, would be communicated through an experiential journey of the different emotions that Maqam music evokes and expression part that would allow the audience to express those evoked emotions through Arabian and
Western musical instruments. As they swing between the experience and the expression, visitors will be learning about the Maqam history, impact on the Arabic culture, and theories as well as techniques of the different Maqams’ sounds. For the sake of achieving such an experience, the exhibition will be divided into several sections. Each section encourages different type if interaction and conveys a different message.
23 Maqam History
In his section, visitors are welcomed to a theater room that has an animated video presented by Arabic-ancient music scholars elaborating on the history of the Maqam concept within the traditional context from the past to the present.
Arabic and Western Music
This section is designed to bring some relevant of the exhibition topic among the
Western audience. Visitors will learn about the differences between the tonal system in
Arabic and Western music. Also, this section will include material, such as graphic panels and images of historical Arabic documentations, that will give the visitors the opportunity to discover the uniqueness of Arabic music. As they learn about the techniques of Arabic music, visitors will have different interactive media to apply what they learn about Arabic music on Western musical instruments.
Maqam on String Instruments
Through different interactive display cases, visitors will have the opportunity to explore, learn, and interact with different Arab’s string instruments. They will also, watch a short documentary displayed to allow them to see how each of the displayed instrument should be held and played as well as they will listen to the different musical sound of these instruments.
Maqam therapy
In this section, visitors will learn that the Maqam was therapeutic in the ancient eras via a personalized interactive experience. This section is designed to draw a personal and an emotional connection with the exhibition topic.
24 Central Stage
This area is meant for social interaction at different levels based on the audience personalities and level of convenience. The audience will be encouraged to interact with each other as a result of several factors, such as a musical sound, which will be exclusive and contained within this area, the openness of the space that will bring people together without any barriers. Additionally, the last factor is the immersive visual projection that will take the audience into a secluded place with whimsical feeling experience. Visitors also have the chance to use the space e as a relaxing platform. This central installation can be utilized as a staging area for regular live performances.
Design Strategy
The design strategy is emphasizing on creating a stylized exhibition that utilizes various Arabic architectural and aesthetic elements to transition visitors to an Arabian state of mind through an immersive and engaging environment. The multi-sensory media will go hand in hand with the Arabic aesthetics to transform an abstract concept such as music into a tangible and memorable experience that worth sharing and encourage appreciation of Arabic culture. Different design elements are taken into consideration upon designing the exhibition environment:
Arabic Patterns and Geometry
The Arabic patterns and geometry are substantial aesthetic elements that represent the Arabic culture. The different layers of the patterns add sophistication and complexity to the space. This concept applies to different Arabian cultural elements such as music.
Also, the pattern is a primary decorative element inspired from the Arabic string
25 instruments, such as Oud. The Arabic geometry will be utilized throughout the entire exhibition in different forms, extruded, pierced, and flat graphic units.
Colors
Cultural colors will take place through the entire exhibition. Walls, furniture, and graphic panels. Various shades of dark red, blue, and gold are colors inspired and representative of Arabic culture.
Multi-sensory media
For representing such a topic, visitors must be provided various ways to facilitate understanding music. This exhibition will use touch, audio, and visual media to create, physical and mental, multi-level of interaction with the exhibition topic. A kinetic installation will also provide a combination of the different media for larger and more immersive moments in the exhibition.
Dramatic Lighting
In order to create an ultimate immersive experience, lighting is a key element in designing this exhibition. Through lighting, level of interaction and visitor flow in the space as well as emphasizing on particular areas can be controlled. Lighting and patterns are the best combinations to attract and amaze visitors through shadows and bright spots.
Visitor Experience
Visitors journey starts from the moment they pass by the exhibition entrances.
From the entrance they will be immersed with the Arabic architectural and aesthetic elements. As they enter, they will be surrounded by Arabic text, pattern, and color. The
26 entrance will include an interactive monitor that will introduce them to the Maqam concept and allow them to explore the different Maqam melodies and their traditional interpretations and association with particular mood and emotions.
Then, if they choose to start with From Past to Now section, they will enter a theater room that is designed to look like an Arabian salon. This section is partially isolated from the rest of the exhibition to create a calm atmosphere within this area.
Visitors will learn about the history of the Maqam concept from the past and how it has developed until the present.
Right next to the theater is where the section of Arab Musical Tuning located. As they enter, visitors will learn about what makes Arabic music sounds different than
Western music. Different interactives that are available for visitors will help them to apply and play the Arabic music on Western instruments. First, an interactive piano with pop up lit keys will help visitors without musical knowledge to play and enjoy. Second, interactive touch screens that will give the visitors the option to listen to the different
Maqam melodies in different Western instruments through headphone located next to the screens.
As this section is highlighting Maqam on Western instruments, The String
Instruments & Maqam section will bring visitors back to the heart of Arabian culture.
This section includes multiple Arabic and Middle Eastern string instruments displayed in interactive display cases. These display cases will allow visitors to explore the instruments and touch the strings. Also, they will watch a documentary showing Arabic musicians playing these instruments and listen to the different sound of each instrument.
27 Next to this section is Maqam Therapy, which elaborates on the idea that the
Maqam was therapeutic in the ancient eras. Visitors will stand under a large cylinder, in a group of two or solely. An Ipad will instruct them throughout the experience. Visitors will place their hand on the Ipad screen, and an emotion detector will play the Maqam melody that is associated with their mood and emotion. As they listen to the music, a relaxing light projection will be displayed on the interior walls if the cylinder. In a personalized experience, visitors will connect with the topic personally in this section.
The last but not least section is the Central Interactive Stage. This stage is designed for a social celebration of the Arabic music. The space will have multi-sensory medium called kinetic installation. This installation will create a visual interpretation of the Maqam music through Audiovisual interaction. The installation will move in response to the music and change color accordingly. People in that space will have seating to set down, lay down and relax or interact socially with the music and space. The open stage will host live performances for more in-depth and in-person interaction with Arabic music.
28 Conclusion
Maqam is a musical concept that highlights emotions as the primary element of the Arabs music mentality. This exhibition is using Maqam as the lens for exploratory and engaging experience among Western audiences. Music is a universal language and does not have to be translated into words in order to be understood; it just needs to be felt. Through this exhibition, different interactive media is utilized to help visitors feel the mood of the Arabian music and engage with the Arabic culture. Ate the end, the design goal is to provide multi-leveled interactive experience for visitors to see, touch, and listen to the Arabic music, to feel the joy of the Arabic culture through the lens of music. Then, they carry memorable moments and joy with them beyond the exhibition walls and spread among their societies.
29 Bibliography
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32 Appendix I: Precedents
Figure9 9. Haus der Musik
Haus der Musik (House of Music), Vienna
“This museum is an interactive sound museum which provides a new approach to music on playful and scientific level. For years the aim has been to provide knowledge and understanding as well as open-mindedness and enthusiasm when dealing with
33 music.” This museum seeks to draw connections between tradition and innovation regarding music. Thus, the aesthetics and architecture of the museum reflect its message, as it is a harmony between historical building and high-tech components. The museum hosts many live concerts, artist talks, and a varied agenda particularly for children as well as music festivals.
Figure 10. The Hunt at the Museum of Islamic Art
Figure 11. The Hunt at the Museum of Islamic Art
34 The Hunt at the Museum of Islamic Art in Doha, Qatar
In this exhibition, visitors were immersed in an environment that stimulates a tent from the Islamic era. The interior and graphic design on this exhibition is outstanding and provided a cohesive experience for the audience. The Exhibition message was to show the relationship between art and hunting culture that has been traditionally an essential element in the lifestyle of rules in the Islamic world. The exhibition design included a large central octagonal module called “Treasure Box”. “The interior of the room emulates a tent in which hunters celebrate a hunting cession with a feast. In the center, a 6-meter floating dome is located, onto which an individual is projected with scenes that contextualize the works on display. The dome screen is suspended above a reflecting floor to give visitors the impression that they are participating in the projection directly.”
Figure 12. The Grammy Museum
35 Grammy Museum, Los Anglos
This exhibition aims to encourage the audience to use music as a medium for learning, inspiring and cultivating creativity, critical thinking and self-expression. One of the interactive areas the museum offer is a fully equipped and prepared stage with different instruments open to the visitors to interact with and pretend that they are music professionals. The intent of this experience is to inspire and encourage the visitors to express themselves through music.
36 Appendix II: Resources
Personas
Name:Sam Name:Micheal Age:18 y/o Age:45 y/o
Background: Background: - Not familiar with - Musician Arabic music - Slightly familiar with - Being in the exhibit Arabic music coincidentally - Came to fnd out about the music Experience: Eye-catching Experience: Interesting Engaging Engaging Impactful Emotional
Figure 13. Personas
37 Hierarchy of Social Participation (by Nina Simon)
As part of the article I’m working on for the journal Museums and Social Issues on using web 2.0 to promote civic discourse in museums, I’m developing an argument about the
“hierarchy of social participation.” I believe that, as with basic human needs, experience design in museums (and for other content platforms) can occur on many levels, and that it is hard to achieve the highest level without satisfying, or at least understanding, those that come before it. One of the impediments to discourse in museums is that fact that designers want to jump straight from individuals interacting with content to interacting with each other. It’s a tall order to get strangers to talk to each other, let alone have a meaningful discussion. And so, I offer the following hierarchy of social participation.
As always, comments are encouraged—and in this case, strongly desired as I work on refining this content for the article.
Figure 14. Hierarchy of Social Participation
38 Level 1: Individual Receives Content (Museum to Me)
In this model, the content provider or museum delivers content for the user to passively receive. You look at an artifact. Watch a video. Listen to a news clip. Read a label. The level of user engagement is self-determined by your interest in the content and your motivation to reflect on it, either singly or with your companions. A successful level 1 experience features content that is meaningful and interesting to viewers. If your visitors are hooked on your content, proceed to…
Level 2: Individual Interaction with Content (Museum with Me)
Most interactive content in museums falls into this category. The exhibit provides a opportunity for the user to play with the content. You press the button. You drop the balloon. The content may be responsive to you, but the interactive experience is non- networked; that is, your interactions with the content are not affected by, nor do they affect, other people’s interactions with the content. Again, the level of social engagement is self-determined. A successful level 2 experience builds on killer content (level 1), not interaction for its own sake. The interaction provided enhances the visitor’s engagement with the content. Got that covered? Then, move to…
Level 3: Individual, Networked, Interaction with Content (Me & Me & Me &
Museum)
These are experiences in which your individual interaction with the content is networked so that each individual’s interaction is available, in a limited capacity, to the entire group of users. Voting, whether for American Idol, national elections, or museum kiosk surveys, falls in this category. Your action is not influenced nor influences others, but
39 you are aware of how others have acted in the same context. This is where many museum programs lie that allow user-generated content. You can register your own opinion about X at the video kiosk, and others can view your video. A successful level 3 experience makes you feel connected to others who have used the same content; visitors start to wonder why others voted/expressed themselves as they did. And thus you are ready for…
Level 4: Individual, Networked, Social Interaction with Content (Me to We with
Museum)
This is the level where web 2.0 sits. Individuals still do their interacting with the content singly, but their interactions are available for comment and connection by other users. And the architecture promotes these connections automatically. For example, on
Netflix, when you rate a movie highly, you don’t just see how others have rated it;
Netflix recommends other movies to you based on what like-minded viewers also rated highly. By networking the ratings, tags, or comments individuals place on content, individuals are linked to each other and form relationships around the content. A successful level 4 experience uses social interaction to enhance the individual experience; it gets better the more people use it. The social component is a natural extension of the individual actions. Which means, perhaps, users are ready for…
Level 5: Collective Social Interaction with Content (We in Museum)
This is the holy grail of social discourse, where people interact directly with each other around content. Personal discussions, healthy web bulletin boards and list-servs fall in
40 this category. Healthy level 5 experiences promote respect among users, encourage community development, and support interaction beyond the scope of the content.
So how do we level up?
The good news is that moving up the levels does not require new content. At all levels, the interaction and participation can occur around pre-existing content. A lot of museums top out at level 2 or 3, imagining that offering people heightened opportunities to interact with content, or to create their own content, is enough. Granted, I’m not sure if social engagement is the goal for interactive designers. But with side benefits like deeper connection with the content, greater appreciation for the museum as a social venue, and heightened awareness of other visitors, it deserves a place at the drafting table.
41 The Delivered Effect of Arabian Musical Modes “Maqamat” within a Group of German Listener
Study abstract:
This study is an attempt to measure the impact of Maqam, a mode of Arabic music, on a sample of listeners at UDK (University of art in Berlin). The students listened to three
Arabic musical pieces that covered three modes: Rast, Saba and Nahawand. The
Rhythmic tempos of the three pieces were played in two phases: slow and fast. Each of the three modes was given a specific description; the first mode was "Saba" and theoretically had a grieving effect, the second was "Nahawand" and theoretically had sentimental effect, and the third was "Rast" and theoretically had an energetic effect.
The experiment showed that the three different modes have impact on German Ear, which generally correlates with what most of the Arab musicians propose.
42 Appendix III : Initial illustrations
43 Appendix IV : Design Document
See inset (53 pages)
44