The History and Perception of Music Education in Kuwait

Total Page:16

File Type:pdf, Size:1020Kb

The History and Perception of Music Education in Kuwait University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2011 The History and Perception of Music Education in Kuwait Youssif Abdullah Al Hassan Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Music Education Commons Recommended Citation Al Hassan, Youssif Abdullah, "The History and Perception of Music Education in Kuwait" (2011). Electronic Theses and Dissertations. 31. https://egrove.olemiss.edu/etd/31 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE HISTORY AND PERCEPTION OF MUSIC EDUCATION IN KUWAIT A Doctoral Dissertation presented in partial fulfillment of the requirements for the degree of doctoral of philosophy in the Department of Music The University of Mississippi by YOUSSIF A. AL HASSAN July 2011 Copyright © 2011 by Youssif A. Al Hassan All rights reserved. ABSTRACT The present study sought to provide a detailed examination of the history and development of music education in Kuwait. The history of the four teacher-training institutions and music education in schools are discussed. That includes the history of the Music General Supervision Department and its music activities. Additionally, the study examined the perception of music education in Kuwait historically, and surveyed parents and students‟ perceptions of music and music education in Kuwait public schools. There were 244 students and 169 parents responses to 260 questionnaires. Parents were asked about their knowledge of the music education curriculum and students were asked if they like music and music education or not, and how would they feel if there is no music education in school. There were sixteen items compared between students and parents regarding interest in music, attitude toward music, and belief in music benefits. Results of the study indicate that parents know little of the music education curriculum and most of the students were positive in their answers toward music education. In the sixteen items compared between parents and students, there was a significant difference between them in fourteen items out of the sixteen. The study included comments and recommendations regarding parents and students perception. ii DEDICATION This dissertation is dedicated to my lovely wife and daughters iii ACKNOWLEDGEMENTS This dissertation was completed with the assistance and support of many individuals to whom I offer my greatest gratitude. I thank my dissertation advisor, Dr. Alan L. Spurgeon for all the support and guidance through all stages of this study. I express my gratitude to Dr. Michael D. Worthy for his guidance and valuable direction. I am also grateful to Dr. John Latartara and Dr. Allen Clark for their thoughtful recommendations for this study. I express my deepest appreciation to Nedal al-Hassan for his endless support during the process of gathering the data and writing the dissertation. I am also grateful for Abdul-Aziz al- Mufarej and Muhammad al-Haddad for providing the necessary data to complete this dissertation. Finally, I am in debt to my father Abdullah Al Hassan and mother Latifa Abul for all their unconditional support. I am in debt for my lovely wife Sondos Kalendar and her parents for all the support they provided for me while obtaining my scholarship and during my study. iv TABLE OF CONTENTS Page ABSTRACT………………………………………………………………………………….…..ii DEDICATION……………………………………………………………………………….…..iii ACKNOWLEDGMENTS………………………………………………………………….…….iv LIST OF TABLES………………………………………………………………………….….....ix LIST OF FIGURES……………………………………………………………………………….x CHAPTER 1 INTRODUCTION…………………..…………………....……………..………….….. 1 Sea Folk Songs, Desert Folk Songs and Old Folk Songs……..….……….….…...1 Folk Instruments…………………………….…………….……..…………....…..2 The Nature of Kuwaiti folk music……..…………….….….…….………….…....3 Education in Kuwait………………………………....……….…...……….……...3 Purpose of the Study………….…....………………………….……………....…..7 The Need for the Study……………………………………….…………………...7 Structure of the Dissertation…………………………….….…………………......8 2 REVIEW OF RELATED LITERATURE………………………......…...…..……......9 Music Education in Kuwait…..................………………………………….….....9 Egypt Music Education and the Arab Music Conferences...................................10 Kuwaiti Music Implementation in the School Curriculum……......………..…...12 Music Activities…...…………………………….……...………………….........13 v National Day Performances………………..………………………...………….14 Kuwait Music Institutions …………………………………………………..…..15 People Perception of Music and Music Education…….…............…….….…....17 3 THE CENTRALIZED EDUCATIONAL SYSTEM, THE EDUCATIONAL SUPERVISION SYSTEM AND THE MUSIC SUPERVISION DEPARTMENT…..20 The Educational Supervision System……………………..……………….…....21 The General Supervisor…………………...…………………..………………...23 The Senior Supervisor……………...………………..……….…….…………....24 The Supervisor……………….…………………………..……………………...25 Music Supervisors and Music Supervision Department in Kuwait…………..…27 Abdul-Aziz al-Mufarej………………...……………………………..…..……...28 The Role of the General Music Supervisor…………………………..….…........29 Music Supervision Department……………………………………..…..……….30 Summary………………………………………………..…..………...…………31 4 THE BEGINNING AND DEVELOPMENT OF MUSIC IN KUWAIT SCHOOLS ……………………………………………………………….…...……….……...33 Music Curriculum Development from 1952 to 1972………………...…..………35 The History and Influence of Egyptian Music Education……………………….36 Arabic Music Conferences……………………………….……...………….……38 The Music Curriculum in Kuwait….……………………….…………....………41 Music Education from 1972 to 1990……………………..…………….…….....44 The Impact of the Iraqi Invasion…………………………………..…….……...46 Music Education after 1990……………………..……………………….……..47 Problems still need to be solved…..……………………………………….……51 vi Comparison of the current Kuwait and Egypt music education curricula in public schools…………………………………….……………….…………….51 Summary………………………………………………………….…….….……53 5 MUSIC ACTIVITIES IN THE MINISTRY OF EDUCATION……..……………….55 Music Activities in the School Curriculum …………………………………….56 Music Choice……………………………………………………………………58 Summer Centers and Tourism Activities………………………………....……..60 Evening Classes…………………………………………………………………64 School Theater and Music Activities………………….…………...……………65 Students Orchestra Project……………………….………………………...……67 National Day Celebrations…………….…………………………...……………70 Summary………………………………………………………………….……..73 6 MUSIC TEACHER TRAINING INSTITUTIONS IN KUWAIT…………………....75 Teacher‟s Institutes, Teacher Education Institutes and College of Basic Education ………………………………………………….………………………….…..76 Teacher Education Institute………...…………………………………………...78 College of Basic Education Music Department………………………….……...79 The Institute of Musical Studies and the Higher Institute of Musical Arts…......81 The Higher Institute of Musical Arts…………………………………...…….…83 The HIMA New Curriculum………………………………….…………………86 Center for Musical Studies……………………………….……………………...88 Summary……………………………………………….………………………..91 7 PERCEPTION OF MUSIC AND MUSIC EDUCATION IN KUWAIT………...…..93 vii Method…………………………………..…………….…………………..…….99 Population and Sampling……………………..……………….……………...…99 Instrumentation……………………………………………………..………….100 Data Analysis…………………………………………………….…………….102 Results……………………………………………………………………….....103 Mann-Whitney Analysis……………………………...………………………..113 Qualitative Data……………………………………………………………......115 Discussion……………………………………………………………………...116 Limitation of the Study………………………………………………………...119 Student‟s and Parents‟ Comments…………………………………….….……119 Parent‟s Positive Comments………..…………………………………….……120 Parent‟s Negative Comments...…………………………………………...……120 Student‟s Comments…...……………………………………….………….…..120 Conclusion……………………………………………………………………..121 Summary………………….……………………………………………………122 8 SUMMARY AND RECOMMENDATIONS………………………………………..123 BIBLIOGRAPHY ………………………………………………………….……..130 APPENDIX A: The Educational Council and the Ministry of Education…….…..138 APPENDIX B: The HIMA New Curriculum………………………….…….……142 APPENDIX C: University of Mississippi IRB permission …………………...….150 APPENDIX D: Parent‟s and Student‟s Questionnaires…….….………………….152 APPENDIX E: Five-Point Likert Scale Data.…………………………………….159 VITA…………………………………………………….……………………………162 viii LIST OF TABLES Table 1. Some of the first teachers credited with developing the Music Education Curriculum...….45 2. Comparison between Kuwait and Egypt curricula general areas in six grades………….…52 3. Music teachers graduated from both teachers institutions………………………………….78 4. Student‟s class per week schedule in the IMS……………...……………………………....83 5. The deans of the HIMA since its foundation until the present……………………………..85 6. The class per week schedule for the CMS five semesters……………………………….…89 7. Research Questions in Relation to Specific Survey items…………………………….…..102 8. The reliability test results for each group of Items in the surveys………………….……..103 9. The complete demographic data for parents‟ participants in the survey…………….……104 10. The 16 items shared by students and parents surveys………………………………….….106 11. Test results for the 16 items compared between students and parents……………..……..114 12. Test results for the three categories compared between students and parents……....….…115 ix LIST OF FIGURE Figures 1. Some of the first Scouts in 1936…………………………………………….….……34 2. Maqam Rast written in a modified western notation……………………….……….42 3. Presentation of rhythms in the second grade…………………………………….…..50
Recommended publications
  • Les Apports Des Traditions Performatives Et Musicales Iraniennes Au Sein Du Processus De Création De L'acteur
    Les apports des traditions performatives et musicales iraniennes au sein du processus de création de l’acteur Kaveh Hedayatifar To cite this version: Kaveh Hedayatifar. Les apports des traditions performatives et musicales iraniennes au sein du pro- cessus de création de l’acteur. Art et histoire de l’art. Université Paris-Saclay, 2021. Français. NNT : 2021UPASK002. tel-03279036 HAL Id: tel-03279036 https://tel.archives-ouvertes.fr/tel-03279036 Submitted on 6 Jul 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Les apports des pratiques performatives et musicales iraniennes au sein du processus de création de l’acteur The achievements of Iranian musical and performative traditions for actor's inventive procedure Thèse de doctorat de l'université Paris-Saclay École doctorale n°629 : Sciences sociales et humanités (SSH) Spécialité de doctorat: musicologie, arts plastiques, arts du spectacle Unité de recherche : Université Paris-Saclay, Univ Evry, SLAM, 91000, Evry Courcouronnes, France Référent : Université d'Évry-Val-d’Essonne Thèse présentée
    [Show full text]
  • Download Hajj Guide
    In the name of Allah the Beneficent and the Merciful Hajj Guide for Pilgrims With Islamic Rulings (Ahkaam) Philosophy & Supplications (Duaas) SABA Hajj Group Shia-Muslim Association of Bay Area San Jose, California, USA First Edition (Revision 1.1) December, 2003 Second Edition (Revision 2.1) October, 2005 Third Edition (Revision 2.0) December, 2006 Authors & Editors: Hojjatul Islam Dr. Nabi Raza Abidi, Resident Scholar of Shia-Muslim Association of Bay Area Hussnain Gardezi, Haider Ali, Urooj Kazmi, Akber Kazmi, Ali Hasan - Hajj-Guide Committee Reviewers: Hojjatul Islam Zaki Baqri, Hojjatul Islam Sayyed Mojtaba Beheshti, Batool Gardezi, Sayeed Himmati, Muzaffar Khan, and 2003 SABA Hajj Group Hajj Committee: Hojjatul Islam Dr. Nabi Raza Abidi, Syed Mohammad Hussain Muttaqi, Dr. Mohammad Rakhshandehroo, Muzaffar Khan, Haider Ali, Ali Hasan, Sayeed Himmati Copyright Free & Non-Profit Notice: The SABA Hajj Guide can be freely copied, duplicated, reproduced, quoted, distributed, printed, used in derivative works and saved on any media and platform for non-profit and educational purposes only. A fee no higher than the cost of copying may be charged for the material. Note from Hajj Committee: The Publishers and the Authors have made every effort to present the Quranic verses, prophetic and masomeen traditions, their explanations, Islamic rulings from Manasik of Hajj books and the material from the sources referenced in an accurate, complete and clear manner. We ask for forgiveness from Allah (SWT) and the readers if any mistakes have been overlooked during the review process. Contact Information: Any correspondence related to this publication and all notations of errors or omissions should be addressed to Hajj Committee, Shia-Muslim Association of Bay Area at [email protected].
    [Show full text]
  • Performing Chinese Contemporary Art Song
    Performing Chinese Contemporary Art Song: A Portfolio of Recordings and Exegesis Qing (Lily) Chang Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide July 2017 Table of contents Abstract Declaration Acknowledgements List of tables and figures Part A: Sound recordings Contents of CD 1 Contents of CD 2 Contents of CD 3 Contents of CD 4 Part B: Exegesis Introduction Chapter 1 Historical context 1.1 History of Chinese art song 1.2 Definitions of Chinese contemporary art song Chapter 2 Performing Chinese contemporary art song 2.1 Singing Chinese contemporary art song 2.2 Vocal techniques for performing Chinese contemporary art song 2.3 Various vocal styles for performing Chinese contemporary art song 2.4 Techniques for staging presentations of Chinese contemporary art song i Chapter 3 Exploring how to interpret ornamentations 3.1 Types of frequently used ornaments and their use in Chinese contemporary art song 3.2 How to use ornamentation to match the four tones of Chinese pronunciation Chapter 4 Four case studies 4.1 The Hunchback of Notre Dame by Shang Deyi 4.2 I Love This Land by Lu Zaiyi 4.3 Lullaby by Shi Guangnan 4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng Conclusion References Appendices Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs Appendix B: Text of commentary for 56 Chinese contemporary art songs Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination Appendix D: University of Adelaide Ethics Approval Number H-2014-184 ii NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library.
    [Show full text]
  • Gambus Tunggal Edi Pulampas Di Pekon Banjar Negeri-Lampung
    GAMBUS TUNGGAL EDI PULAMPAS DI PEKON BANJAR NEGERI-LAMPUNG NASKAH PUBLIKASI Oleh Nofriyan Hidayatulloh 1410527015 TUGAS AKHIR PROGRAM STUDI S-1 ETNOMUSIKOLOGI JURUSAN ETNOMUSIKOLOGI FAKULTAS SENI PERTUNJUKAN INSTITUT SENI INDONESIA YOGYAKARTA 2020 BAB I A. Latar Belakang Gambus merupakan alat musik petik melayu yang berasal dari peradaban Islam di Timur-Tengah (gambus dalam bahasa Arab disebut u’d atau oud).1 Gambus banyak ditemui di daerah-daerah yang mendapat pengaruh Islam yang cukup kuat, pulau Sumatera adalah salah satunya. Lampung menjadi salah satu daerah yang mendapatkan pengaruh Islam yang cukup kuat setelah Aceh dan daerah-daerah lainnya di pulau Sumatera. Islam di Lampung tidak hanya dibawa oleh para pedagang dan orang-orang bangsa Arab saja, melainkan juga dibawa oleh orang-orang dari Sumatera Barat, Palembang, dan juga kerajaan Banten.2 Salah satu bukti sejarah menyebutkan bahwa semenjak awal abad ke-XVI, kerajaan Banten mulai memperkuat pengaruhnya sampai ke Lampung.3 Keberadaan Islam di Lampung berimbas pada munculnya kesenian gambus tunggal. Oleh karena itu gambus yang ada di Lampung diakui oleh masyarakat sebagai budaya tradisi melayu-Islam. Kesenian gambus di Lampung tidak hanya dimainkan secara instrumental, melainkan dimainkan secara vokal instrumental. Vokal yang digunakan pada gambus Lampung menggunakan syair sastra Lampung yang berbentuk bebandung. Kesenian gambus tunggal biasa dibawakan oleh satu orang yang bermain gambus sambil bernyanyi. Dalam perkembangannya, kesenian gambus tunggal mulai dibawakan oleh dua orang (satu bermain gambus dan satu bernyanyi) dan tidak menutup kemungkinan untuk dikolaborasikan dengan alat musik lain. Salah satu tokoh gambus di pekon4 Banjar Negeri yang memperkenalkan gambus di ranah entertainment atau hiburan dengan beberapa bentuk penyajian adalah Edi Pulampas.
    [Show full text]
  • Sephardic Liturgical Music: Liturgical Music of Middle Eastern Jews Mark Kligman
    Sephardic Liturgical Music: Liturgical Music of Middle Eastern Jews Mark Kligman Jewish liturgical music in Sephardic and Middle Eastern communities shows a vast range of musical styles. The term Sephardic comes from the Hebrew word Sepharad, which is found in the book of Obadiah, verse 20. The region that is mentioned in this biblical passage is not known, but by the eighth century c.e. Sepharad was the term used for the Iberian peninsula. Jews moved into this region during the seventh century and were spread across communities surrounding the Mediterranean. Jewish life that emerged first under the Muslim and Christian rule of Spain has had an important impact on Judaism from the medieval era to the present. After the expulsion of the Jews from Spain and Portugal in 1492 these Jews spread out across the Mediterranean and other parts of the word (this will be explained further). As used today “Sephardic” refers to the Jews of the Iberian Peninsula and their descendants in various areas of relocation. The liturgical music of Sephardic Jewish life is rich with a diversity reflecting the styles of the regions where these Jews lived. This essay will briefly survey the role of music in Jewish life during the post-Temple era (after 70 c.e.) and the history of Sephardic Jews, and then focus on styles of worship in their liturgical music, including cantillation of the Bible, liturgical song, and liturgical poetry. A Survey of Jewish Liturgical Music Jewish liturgical music develops in terms of form and function during the first millennium. Rabbinic sources, archeological evidence, and other sources attest to the important role of music during the First and Second Temple periods.
    [Show full text]
  • Asif Ali Khan Ensemble
    PROGRAM: ASIF ALI KHAN ENSEMBLE T UESDAY, APRil 1, 2014 / 7:30 PM / BiNG CONCERT HALL ASIF ALI KHAN ENSEMBLE ARTISTS PROGRAM Asif Ali Khan, Lead Vocals The program will be announced from the stage. Raza Hussain, Harmonium and Solo Vocals Sarfraz Hussain, Harmonium and There will be an opening-act performance by Stanford Talisman. Solo Vocals Ali Khawar, Tabla and Chorus Imtiaz Hussain Shibli, Chorus Waheed Mumtaz Hussain, Chorus Shah Nawaz Hussain, Chorus Manzoor Hussain Shibli, Chorus Umar Draz Hussain, Chorus Asif Ali Khan’s tour was made possible in part by a grant from the Asian Cultural Council. PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. 14 STANFORD LIVE MAGAZINE APRIL/MAy 2014 PROGRAM: ASIF ALI KHAN ENSEMBLE PROGRAM NOTES a residency at the University of an end in itself, implying that the state It is the courage of each, it is the power Washington in 1992 that qawwali began of ecstasy is a manifestation of God. of flight, to be heard again in the United States outside the South Asian community. In Because the art of qawwali, as with Some fly and remain in the garden, 1993, a 13-city tour of North America most of the great Asian musical and some go beyond the stars. organized by the World Music Institute literary traditions, is transmitted cemented Nusrat’s reputation in the orally, the mystical verse associated —Amir Khusrau, 13th century United States and helped to build with qawwali is best appreciated by a far wider interest in qawwali.
    [Show full text]
  • 2571Booklet.Indd 1 01/12/2014 13:33:02 Music from IRAQ Babylonian Fingers Ahmed Mukhtar Master Oud Soloist, Composer and Music Consultant
    2571Booklet.indd 1 01/12/2014 13:33:02 music from IRAQ babylonian fingers ahmed mukhtar Master oud soloist, composer and music consultant. Ahmed Mukhtar was born 1969 in Baghdad and has played the oud and Arabic percussion since the age of ten. He worked with many traditional music groups and musicians in Baghdad. In 1983 he studied oud and percussion with the masters Ganim Hdad and Jameel Jerjis and then went on to Photography by Hydar Dewachi continue his studies of these styles at the High Institute of Music in Damascus in 1990. Later he studied at the London College of Music, gaining a M.H. diploma and from 1990 he became a performer and teacher and toured the major cities throughout the Middle East and Europe, as well as Boston, Philadelphia and New York. In 2003 he obtained a master’s degree in performance, including Middle Eastern and Arabic Music at SOAS – the School of Oriental and Africa Studies, London University. His festival performances include the International Festival of Arabic Music in Cairo, 1994; the Conference of Arabic Music in Damascus, 1995; the International Music Feast at Cambridge University (England), 1997; the International Conference and Festival of Lutes and Music in France and Spain 1998-2002; the Festival of Iraqi Culture, Stockholm, Sweden 2002 and 2003; WOMAD Global Festival, Reading 2003 (England); as well as numerous live performances and concerts for BBC Radio 3, London, in 2004, and a guest performance at the BBC Radio 3 Mediterranean Music Fest 2004 in Rome, Italy. He also was a guest performer at the following events; The Book International Exhibition in U.A.E.
    [Show full text]
  • Samaie Farhafza Analysis [Seifed-Din Shehadeh Abddon] May 2003 Composer: Jamil Bake Performer: Simon Shahim and the Near Eastern Music Ensemble
    Arabic Music: Samaie Farhafza Analysis [Seifed-Din Shehadeh Abddon] May 2003 Composer: Jamil Bake Performer: Simon Shahim and the Near Eastern Music Ensemble Preface: The Arabic modal system is one of the most extensive modal. It has a long history, and some musicologists believe it is substantially similar to what was performed in the Eastern Mediterranean during the Roman period, however, it is modal and monophonic. The modal tone system in Arabic music is sometimes based on theoretical octave (Diwan) scales of seventeen, nineteen or twenty-four notes. Moreover, the temperament is not generally equal, and the practice is essentially diatonic. The favorite modes (Maqam1: Maqamt) come from throughout the Arabic world. It is obvious ubiquity in all Arabic countries, South Africa (Ethiopia and Kenya), Turkey, Turkic nations (Azerbaijan, Turkmenistan, Uzbekistan, Kazakhstan), Iran, Armenia, Europe (Greece, Bulgaria, Serbia, Croatia, Macedonia and Albania), Fragments of Maqam theory can even be found in western China and in newer music of Malaysia and Indonesia. It is important to note that in every country or region I mentioned, there are significant regional variants in the maqam system. There is not one Maqam system. It is more accurate to say that maqam represents a way of conceiving of tuning and mode that creates a framework to understand a lot of different folk and classical music traditions such as: Samaei, Doulab, Muwashah, Nawba (north Africa) and suite (Kashmir), particularly in countries that have been ruled under the Islamic Empire. Arabic melodies draw from a vast array of melodic, known as Maqamat (singl. Maqam). Arabic books on music include as many as fifty-two melodic modes, of which at least twelve or so, are commonly used (rast, bayati, hijaz, huzam, saba, nahawand, kurd, sikah, nakriz, suznak, ajam, hijaz kar Kurd, and Farhfza).
    [Show full text]
  • Maqam Analysis: a Primer
    Sami Abu Shumays www.maqamlessons.com/analysis/primer.html Fall, 2013 Music Theory Spectrum, Volume 35, No. 2 – Fall 2013 Large Print Version for Web Maqam Analysis: A Primer The goal of this paper is to provide an accessible introductory framework for the analysis of music within the maqam (modal melodic) traditions of Egypt and the Levant (Syria, Lebanon, Palestine), a region that shares both repertory and an approach to melody. While much of what is written here will also apply to many of the musics from related maqam traditions (including Turkey, Iraq, the Arab Gulf, and parts of North Africa, and to a lesser extent traditions from Iran and Central Asia), I do not wish to make claims that are too broad, nor that fail to respect the many subtle and not-so-subtle differences among regional traditions. I have selected musical examples from Egypt and Syria to illustrate my points, all of which can be heard at http://www.maqamlessons.com/analysis. The website contains much more than could be presented here: complete analyses of 27 pieces of music (plus fragments from two more), broken down jins-by-jins into 819 audio samples that illustrate more completely the same analytical points made in shorter form here. I feel strongly that the analyses and claims made in this article cannot be understood without hearing the audio samples, so the reader is highly encouraged to follow the analysis track of the website and play those samples along with the article itself. Aside from addressing the general need for more maqam analyses in the music theoretical literature in English1, this paper advances new ideas that differ significantly from the conventional view of maqam, as represented both in the theoretical literature and in the oral theory tradition of practitioners.
    [Show full text]
  • Maqam/Makam - Mode) App by Anastassia Zachariadou
    IMS-RASMB, Series Musicologica Balcanica 1.1, 2020. e-ISSN: 2654-248X The M (Maqam/Makam - Mode) App by Anastassia Zachariadou DOI: https://doi.org/10.26262/smb.v1i1.7735 ©2020 The Author. This is an open access article under the terms and conditions of the Creative Commons Attribution NonCommercial NoDerivatives International 4.0 License https://creativecommons.org/licenses/by-nc-nd/4.0/ (CC BY-NC-ND 4.0), which permits use, distribution and reproduction in any medium, provided that the articles is properly cited, the use is non-commercial and no modifications or adaptations are made. Zachariadou, The M (Maqam/Makam – Mode) App The M (Maqam/Makam - Mode) App Anastassia Zachariadou Abstract: Byzantine modes, Turkish makams, Arabic maqams and Greek folk modes are four modal music systems having a very similar build and expression. These music traditions interacted, in various ways, with each other's history and musical heritage, development and essence. The M app is a glossary which guides you through basic characteristics, similarities and differences of these four official music theory systems, as they are taught today. One can use this app for didactic purposes, in order to have a clear image of each maqam/makam – mode, its characteristics and the way they sound, based on each tradition’s unique character. M app is not meant to replace a tuner but can be a great tool that will help you decode your listening and/or performance. It contains many of the most popular maqams/makams, the Byzantine modes and the Greek folk modes individually but also in juxtaposition, based on the nomenclature or intervallic structure.
    [Show full text]
  • Turkish & Arab Makams Music Theory For
    Turkish & Arab Makams Music Theory For OUD 1 ΘΕΩΡΙΑ & ∆ΑΚΤΥΛΟΘΕΣΙΑ ΓΙΑ ΟΥΤΙ [Συλλογή και επεξεργασία του υλικού των κειµένων : Βαγγέλης Κατσούλας / Πηγή : www .udeclipse.com ] 2 History of the Oud 1. The Term 'ud 2. Early History 3. Description 4. Models of the 'ud 5. Performance and Aesthetics 6. Study of the 'ud 1. The Term 'ud Literally, 'ud means 'twig', 'flexible rod' or 'aromatic stick', and by inference 'piece of wood'. In Ibn Khaldun (14th century), 'ud denoted the plectrum of the lute called barbat . The etymology of the word has occasioned numerous commentaries, among them Farmer's alluring thesis that the Arabs adopted the term to differentiate the instrument, with its wooden sound-table, from the similar Persian barbat , whose belly is covered with skin. But this can no longer be defended. The choice of the term 'ud depends on a discursive form of Arab thought which required some other word to define the barbat before the 'ud (the same applies to all the instruments of the emergent Islamic world): in this system of ideas, one term refers beck to another or is glossed by yet another, leading to a multiplicity of terms. As the sanj is described as a wanj , the buq as a qarn , the duff as a tar , the 'ud becomes a synonym of the barbat . The skin-wood difference was not taken into account. This play of reference is clear as stated by the 10th-century Andalusian writer, Ibn 'Abd Rabbihi: 'the 'ud is the barbat '. Other writers, such as Ibn Sina and Ibn Khaldun, included the 'ud under the heading of ' barbat ' when speaking of its characteristics.
    [Show full text]
  • A Blend of Old-World Entertainment and the Formal Setting of Classical Music in Paul Schoenfield's Concerto, Klezmer Rondos for Flute, Male Vocalist, and Orchestra
    Tradition Revisited: A Blend of Old-World Entertainment and the Formal Setting of Classical Music in Paul Schoenfield's Concerto, Klezmer Rondos for Flute, Male Vocalist, and Orchestra Item Type Electronic Dissertation; text Authors Kaplan, Rachel Lynn Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 17:33:25 Link to Item http://hdl.handle.net/10150/144609 TRADITION REVISITED: A BLEND OF OLD-WORLD ENTERTAINMENT AND THE FORMAL SETTING OF CLASSICAL MUSIC IN PAUL SCHOENFIELD’S CONCERTO, KLEZMER RONDOS FOR FLUTE, MALE VOCALIST, AND ORCHESTRA by Rachel Kaplan _______________________ Copyright © Rachel Kaplan 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Rachel Kaplan entitled Tradition Revisited: A Blend of Old-World Entertainment and the Formal Setting of Classical Music in Paul Schoenfield’s Concerto, Klezmer Rondos For Flute, Male Vocalist, and Orchestra and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ___________________________________________________ Date: 04/11/2011 Brian A. Luce ___________________________________________________ Date: 04/11/2011 Jerry Kirkbride ___________________________________________________ Date: 04/11/2011 Neil Tatman Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]