Week 11: Egypt (Chapter 12)

Prompt Arab Republic of Egypt Gnawa Algeria (country) Notes - located in Northeastern African - Arabic language and religion of Islam - Quranic recitation - ethnic group associated with Moroccan Sufism - trance music using three string bass instrument - internationally popular music - dating back to 1930s and based on folk rhythms - combining religious and secular musics with amplified instrumentation - mostly orchestral music based on classical Arabic poetry (called malouf) - influences from Spanish, Portuguese and Turkish music - marginalized today but still performed as part of important social occasions - people are called the Tuareg - large Berber ethnic group that is traditionally nomadic - wear distinctive traditional blue clothing - concentrated in Niger/Mali and Algeria - traditional instrument - one-string bowed fiddle - ancient Egypt - arrival of Islam in Egypt - becomes part of Arab-Islamic empire - Egypt was under the rule of Turkish Ottoman Empire - Egyptian nationalism - opposition towards foreign domination - modernism with heavy influence of Western culture - pride in Egyptianness as the antithesis of foreignness - identification with Arabic-speaking peoples and with Arab-Islamic culture - identification with Muslim religion - folk dance with associations of rural culture - womens social gatherings and rituals and other rituals for both genders - ankle length dresses - both genders - oriental dance with associations of Egyptian weddings and nightclubs - professional entertainment of womens dance - roots of raqs baladi with European ballet and Hollywood - music is more modern - generic English term to refer to all Middle Eastern womens dance - traditional core of raqs baladi/sharqi with any other types of influence - emphasis on circular and undulating movements generated from the hips and pelvic region and by maintenance of a low center of gravity in body - idealistic views of exoticism by Western views - modal musical system, also means place - built from specific sequence of ascending and descending pitches (a scale) - specific patterns and ornaments, procedures for moving from one pitch to

Tunisia (country)

Pan-Sahara

imzad 3000 BC early 600s CE 1517-1914 19th century

localism pan-arabism islamism raqs baladi costume gender raqs sharqi

belly dance (popularized, international raqs sharqi) Orientalism maqamat modulation

maqam connection

quarter tone

takht ud

quanun

ney

violin

riqq tabla drums duff rebab Egyptian tabla

another, microtonal nuances that define each maqam (singular) - how to change from one maqam to another - have specific emotions, geographical locations, extramuscial features associated - every song begins and ends in the same maqam - microtonal interval that falls hallway between the smallest intervals in conventional Western pitch system - tone - 24 distinct pitches within the octave - ensemble of 5 instruments - lead instrument - half pear shape, short neck with no frets and 5 pairs of strings made from gut or nylon - played with quill plectrum via plucking or strumming - plucked zither with trapezoidal shape - most common number of strings is 24 pairs of 3 strings (total of 72) - three strings of each course/pair are the same pitch - special metal bridges are inserted under the string to alter their tuning and used to play different maqamat - held across the lap during performance and plucked with tortoise shell or plastic plectra attached to players index fingers - end blown flute made of bamboo - 7 holes with 6 in the front and one on the underside - can cover a range of three octaves - different sizes are used to play for different maqamat - played in the conventional Western manner or can be played like a cello (in Morocco) - Iraqi version of takht ensemble has the joza, a bowed chordophone with 4 strings that replaces the violin and is played like the cello - Arab tambourine for rhythmic accompaniment - sometimes during dances/lively musical styles - from Gamelan instrument - AKA darabukkah, dumbek, doumbec - goblet shaped, single headed drum - held under one arm (usually left) and played with both hands - lead drum in Egyptian dance music - form of instrumental improvisation that is heard in maqam-based styles - sometimes it occurs at the opening part with a soloist and no rhythmic accompaniment (free rhythmic style) - ud - rhythmic modes with repeated patterns - can be up to 48 beats long - low pitched dum marks the two main beats of the pattern - high pitched tek fill in with syncopations - 10 beats: dum tek tek dum tek tek - 13 beats: dum tek tek dum tek tek tek tek dum

taqsim

instrument iqaat dum tek aqsaq-sama murabba

zaar gender dance moves prohibition jinn

asyad old mistress ritual

music

sagat Great Night

ritual dancing collapse principal setting for womens dancing ancient roots ghawazi origin

modern ghawazi Halim El-Dabh

- ancient healing ritual in shamanistic practices involving spiritual possession - multiday ritual - mainly women but men did participate as musicians - dance elements are commonly used in raqs baladi/sharqi and belly dance from the ritual - prohibited among Egyptian Muslims - zaar centers on the power of the jimm - magically empowered spirit being - have the capacity to cause evil among humans by entering their souls, especially women - causes illness in which cause a zaar is performed to neutralize the jinns power, cast it away and cure the woman - afflicting jinn, master - the one who knows - leads the ceremony and negotiates with the asyad - old mistress strikes duff and beats it against her body to put herself in a trance - in that state, she can address the asyad who reveals to her the conditions in which it will leave the patient - each asyad is associated with specific ritual songs - songs are sung with rhythmic accompaniment (drums, finger cymbals, rattle) - musicians experiment with different rhythms that best suits the needs of the affected individual - finger cymbals - afflicted woman is dressed as a bride and parades around an altar in honor of the asyard - blessings and passages of the Quran are recited - animal sacrifices and incense - violent and unrestrained movements - breathing deeply to rhythm before collapsing - asyad leaves the body - domestic womens fathering at someones home - display of dancing at a womens fathering marks a girls initiation into the womens community - dances during Ancient Egypt worshipping a Great Mother goddess and fertility - moving in circular motions symbolized the process of giving birth and life cycle - hereditary families of dancers - outsider, invader or conqueror - ancient Egypt (tombs show females dancing in private entertainments) - or from original ghawai of the Roma/Gypsy descent in the 16th century - started a large market for dancing in front of men - origin of modern belly dancing and raqs sharqi - applied to all professional dances regardless of family lineage - expelled in the early 19th century from Cairo and other urban areas - pioneer of electronic music - 1st electronic tape music made in Cairo by recording sounds of a zaar and processing sounds with reverbs and echoes.

Sayyid Darwish asli hadith Badiaa Masabni

Samia Gamal

Abd al-Wahhab 1952

baladi sharqi/women dance fallahin Farida Fahmy

a) fallahi folk dance meter b) saaidi folk dance tahtib raqs bil-asaya

rhythm melody raqs al-asay origin influence tabla solo

order dance routine

- combined asli and hadith - authentic Arab-Egyptian manner - new influences from the West - 20th century dancer who owned salas (casino-theatres) - formed a new style of Egyptian womens dance with influence from the West and theatrical practise - used arms and torso more serpentine , used more floor space and Western belly dancing costume (Orientalist dance that Westerners envisioned) - continued Masabnis line of moderning womens dance - veil dancing and dancing in heels - combined Middle Eastern and Western dance elements in raqs sharqi - continued Darwishs line of modernizing music - music has influences in Quranic recitation and Sufi music - bloodless revolution - peaceful takeover of Egypt by taking over institutions - greeted with broad popular support - important symbol of nationalist identity - suffered due to Western association - Egypt grew anti-Western and closed down casinos, nightclubs etc. - identification with the peasant class - emphasized in public persona as well as having the roots of ruralside - lead dancer of Reda Troupe (folk group) - built on fellahin roots and other folk dances with modern/Western influences - strong nationalistic pride - influenced raq sharqi and belly dancers to incorporate folkloric dances - upbeat rhythm that is traditionally used in songs/dances during agricultural rituals of Nile Delta farmers - duple meter - traditional baladi culture of other rural areas of Egypt - Egyptian martial arts, closely related to saaidi - dance with sticks - performed before or after tahtib match - allows player to demonstrate skill and musicality with weapon manipulation - series of blows parries (blocks) and maneuvers - performed on tabl baladi which is struck with a stick - two dum strokes in the middle of the pattern - played on aerophone mizmar - cane dance - traditional baladi form that originated by tahtib - playful parody of mens martial arts - use of cane as a phallic symbol in raqs sharqi and belly dances - neo traditional - invented by dancer Fuad and her tabla accompanist - different rhythms played by one or more percussion instruments - became popular in raqs sharqi and belly dancing - second or last item on the program - raqs sharqi

opening rhythm opening costume second dance second costume last dance

music

- lively malfuf rhythm then maqsoum/masmoudi rhythm - Hollywood type raqs sharqi (sequined bra, low slung skirt, bare midriff) and veil - traditional, usually the cane dance - folkloric costume - tabla solo - duet between dancers movement and tablas percussion - dancer stands beside tabla player while dancing and covers little floor space - syncopation and offbeat accents

Song Alla Hai (4-12) ayyoub dum tek mazhar duff riqq tabla doholla sagat 0:00-0:17 0:18-1:52

Notes - rhythms of zaar music - duple meter that reflects the mood of the ceremony - low pitched dum marks the two main beats of the pattern - high pitched tek fill in with syncopations - large, deep toned tambourine with large jingles - mazhar without jingles - high pitched tambourine with jingles (head made of fish skin) - functions as lead drum of ensemble - larger, bass version of table - finger cymbals - unison dum strokes in slow rhythm - doholla and duff play basic zaar rhythm - tabla does improv. elaborations that fill in the beat - riqq, mazhar and sagat add ornamental rhythmic layer - faster tempo (characteristic towards the end of zaar ritual) - baladi/ folk root essence - composed by Abd al-Wahhab for a dance number featuring Gamal - large takht ensemble with Western orchestral string instruments and Arab percussion instruments - maqam-based melody with Arab ornamentation - prominence to traditional Arab instruments (quanun, nay) - quarter tone accordion - masmoudi iaq: dum dum tek dum tek - appropriate for dances requiring intimate character - Arab percussion provides rhythm - jump in tempo in the end with zaar rhythm - hijaz: D Eb F# A Bb C D - rhythms of zaar music - tabla solo - malfuf rhythm and Egyptian percussions - raqs sharqi - dum is produced by striking the middle of the skin with four fingers close together (made on tabla or doholla) - tek is produced by striking the rim of the drum with one or more fingers from right hand or with left hands third finger (made on tabla or doholla) - fallahi rhythm - full Arach percussion section - Saaidi rhythm

1:53-end Zeina (4-16) firqa melody

rhythm

maqam Belhadawa (4-20)

Baladi We Hetta (4-11) Demonstrations (4-13,14,15)

Baladi We Hetta 2 (4-17) Arabian Knights (4-18) Malfuf rhythm (4-19) La Cucaracha (4-21)

- malfuf rhythm - tabla, doholla, sagat and other Arab-Egyptian percussions

Week 12: West Africa (Chapter 10)

Prompt Africanism complex polyphonic layered ostinato Notes - readily identifiable musicultural characteristics that are widely shared across sub-Saharan African and are prominent in musics of African diaspora - multiple layers of instruments/voices - steady, repeating rhythmic pattern - creates polyphony when layering multiple ostinatos together - varied repetition - call and response formant - many voices speaking at once - dancing along to music - produce buzzing timbres and other effects - many types of scales, modes and tuning systems - people of Ghana - matrilineal people (trace their descent lines through mothers side) - hereditary royalty in the past (now Ghanian government has most power) - Akan chiefs usually purchase and sponsor Fontomfrom drums/equipment (tradition) - drums are played at events where the chief makes a public appearance - chief may dance with the music with a royal sword - spike harp-lute chordophone of the Mande people - 21 strings that are plucked - straight neck and resonator from large calabash or half gourd - sound hole on the right side of the resonator - high bridge is mounted onto the face - 2 parallel rows of strings pass through notches carved into the bridge - preserved in the art of jeliya and griot - plucked with both hands using thumbs and forefingers - traditionally play from a seated position on the floor so tailpiece can contact floor and add resonance to sound - Sissiko, Diabate and Kouyate - endogamous (marry within the clan) - hereditary men musicians - griots (praise singers) of Mande culture - hereditary women musicians, mostly singers - culture of the jeli including praise songs and instrumental music traditions - diverse range of African hereditary praise song/music trad. including jeliya - originally sung to honor royalty but are not performed to honor modern politicans/patrons wealthy enough to get jelis services - continue jeliya - traditionally they were only permitted to perform on designated jeli instruments (i.e kora) - royal family name - forbidden to perform music professionally (especially as a jeli)

conversational element improvisation timbral variety distinctive pitch scale Akan

Fontomfrom

kora

playing style

hereditary jeli families marriage jeli jelilu jelimuso jeliya griot praise songs jeli responsibility

Keita

mbira dzavadzimu melody timbre marimba

Sidiki Diabete Kaira

- instrument of the Shona people of Zimbabwe - plucked idiophone - polyphonic layers of melody - timbral variation with bottle caps - percussion instrument from Zimbabwe - wooden bars with resonators that are struck with mallets - polyphonic layers of melody - timbral variation with kazoo type - buzzers on marimba resonators - King of Kora - most accredited song with associations of Malian struggle for independence

Song Notes Fontomfrom (3-14) - royal Akan drum ensemble dawuro - iron bell which plays ostinato all drums are: - barrel-like shape with single drum head attached to instrument with peg - played with wooden sticks from - very tall and heavy with low pitch - lead drummer plays instrument atumpan - not as tall and heavy as from with higher pitch eguankoba - thin, taller than atumpan with higher pitch polyrhythms - multiple layers of rhythm - rhythm of from and atumpan can vary - tonal language spoken as well conversation - voices speaking together improv - seen in lead drumming part of from Dounuya (3-16) - The World composed by Seckou Keita - praise song honoring the Creator, critique of shortcomings of peoples social lives and call for elevated virtue/integrity - rooted in Mande musical and cultural context but also talks about global community in song kumbengo - layered ostinato-based style normally used to accompany singing - low pitched bass line, middle range layer and higher range layer together birimintingo - improvised melodic flourish - anticipates introduction of singing voice into multipart musical conversation - fills in spaces between sung phrases sataro - higher pitched, speech like - more dependent on improve., emphasizing text Okan Bale (3-18) - pan-African, global conscious context - sung in Fon language (tradition language of Benin - sung with kora accompaniment and its birmintingo runs - synthesizer, guitar, electric bass, background vocals Talking Drum - composed in a tonal language (dialect of Twi) (3-12) - meaning of word is determined by the sound of syllable, pitch, rhythm and timbre - use of Akan drums such as atumpan drums - emphasis on drums in West Africa like Ghana Njagala Nkwagale -endongo music of Uganda (3-15) - praise song in honor of ancient Baganda kingof Buganda monarchy - sung in Luganda language Atlanta Kaira - neo traditional ensemble jeliya performance (3-17) - two singles (female and male), two koras, a bala, a koni and acoustic guitar - contemporary reinterpretation of the piece Kaira composed by his father polyphonic - all voices speak at once - layers between singing and all the instruments mode - sauta -FGABCDEF ostinato - layered ostinatos with varied repetition and full improvisation in certain parts - each ostinato cycle is 8 beats per cycle sataro - praise in Sidikis honor (Sidiki is the composer of Kaira)

Week 13: Chinese Zheng (Chapter 13)

Prompt China language 1912 1949 1958-1961 1966-1976 1976-on 8 categories for silk bamboo metal stone gourds earth leather wood Zhu Zaiyu equal temperament zheng Notes - majority of ethnic group is Han - tonal language - Republic of China - Peoples Republic of China under rule of Mao Zedong - Great Leap Forward - Cultural Revolution - Period of Openness, socialist market economy - ancient Chinese instrument classification - stringed instruments (bowed, struck or plucked) - flutes and reed instruments - bells - tuned chimes - resonator for mouth organ type instruments - clay flutes - drum heads - clappers, woodblocks - Prince of the Ming Dynasty - wrote many treaties on music including description on equal temperament - system of tuning where adjacent notes have identical frequency ratio - ideas may have spread to European theorists through trade - board zither chordophone - horizontal resonator with movable bridges - played with finger pricks (plectra made from ivory or tortoise shell) - Qin state - Spring and Autumn Period and Warring States Period (771-221 BC) - onomatopoeia reflecting timbre of instrument when plucked or - two sisters in imperial place broke a 25 string se zither in half and emperor named them zheng which also means dispute - 5 silk strings on bamboo frame - 21 metal-wound nylon (4 octave range) - steel strings - allows for several different pentatonic tunings - only thumb, index finger and middle finger of the right hand used to pluck - plucking string with both hands - can play guzheng horizontally or vertically but not diagonally because the bridge can fall down - first popular music culture and accompanied singing - played at large social gatherings and used to accompany entertainment and rituals - played by any gender and class - solo zheng performance developed from Confucianism - 12 strings - practise for purpose of self-cultivation (to maintain social order)

origin location origin time origin of name

oldest form modern form traditional form moveable bridge traditional playing 1950s-on playing playing position Qin dynasty

Han dynasty

Tang dynasty

status

representation pipa Ming dynasty

Qing dynasty yun baban baban ban strong beat weak beat total ban 16 string steel string zheng

qin

junzi

playing style

right hand tremelo da zhi yao left hand si dian

da cuo

- employed many musicians and dancers throughout the Chinese empire - 13 strings and new playing techniques were introduced - notated zheng music - pear shaped plucked chordophone with 4 strings - zheng increased in stature - was not recognized as instrument played only by low class women because high class women started playing as well (solo zheng) - started to become a womens instrument (since it was a male instrument before) - introduced via the Silk Road - most households had zheng - part of regional opera ensembles - 14-15 strings - distinctive solo zheng playing techniques and styles in each region - regional character - traditional Chinese melodic form with 8 main melodic phrases - most traditional solo pieces are in this form - measurement of each phrase - measure of 2 beats with 8 ban except for the 5th which has 12 ban - ban - yan - 68 ban in one baban cycle - preferred for traditional pieces usually in the baban form - plucked tones on steel strings can resonate longer allowing for subtle nuances in ornamentation - traditional pieces do not exceed three octave range found in 16 string instrument - seven string board zither with no bridges and smaller than zheng - softer dynamic range - considered the most appropriate instrument for junzi - superior individuals - men from rulings and educated classes that could guide Han society and music - usually played solo - often in solitude - most associated with Confucianism and self-cultivation - melody through plucking actions and tremelo - yao zhi - roll - more rhythmic technique for sustaining notes used in older zheng - quick back and forth thumb motions - ornamentation and vibrato through pressing actions -four point fingering technique - quick alternation of middle finger, thumb and index finger - MTITMTIT - left hand is pressing corresponding string to produce emphasis on note - playing two strings that are an octave apart on most melody notes with only

xiao cuo payin third melody gua-zou short long strong left hand yijing Republican era of Chinese history

programmaticism

Communistic era Cultural Revolution

Period of Openness

post 1970s

one hand - a melody harmonized in two note chords played with two hands - chord is played with index and thumb finger - a melody embellished by arpeggiated chords played with two hands - 7 notes played one by one - right hand with accompanying chords and arpeggios in the left hand - glissandos, ornamentation - rapid ascending/descending sweeps across string - few notes that land on main melody note - falling water ornament - heavily accented, attack like - played on left hand side of strings - emotional quality of piece - conservatory, neo-traditional, solo zheng style - Chinese traditional music was not supported as it was considered backwards but made gradual advances - push to modernize this music with nationalistic ideals - employment of instrumental music to tell a story or evoke visual images - from Western influence - music works would have titles and programs (descriptions of what the music is supposed to evoke) - significant Western influences (piano style playing) on zheng - constrained intellectual and artistic expression - strict Chinese socialism -music was allowed if they were revolutionary songs - started after the death of Mao Zedong - maintain communist political order in an environment of free enterprise and engagement with global markets - introduced policy for the arts to be more open - less control of artistic expression, no need for political messages in songs - foundation of new zheng institutions and compositional styles - Chinese and Western influences based on minority music tradiations such as Uighurs and Tibetans to show multiculturalism

Song Autumn Moon over the Han Palace (4-27) techniques form instrument yijing Spring on Snowy Mountain (4-29) program

Notes - old piece in Han dynasty - expresses hidden suffering of palace maids in imperial palace - typical Shandong (province in China) zither piece - chanting, gliding and pressing techniques - narrow vibrato used (Shandong characteristic) - baban - 16 string steel string zheng - hidden sadness that is controlled and moderate - piano-inspired approach to solo zheng composition - melody from Tibetan folksong - Tibetans singing and dancing in their land while welcoming Chinese communist

techniques

tuning Music from Muqam (4-33) muqam represents

tuning rhythm

measure techniques

Chin (4-25)

The Moon is High (4-26) On the Golden Hill in Beijin (4-28) themes

rule - 2 hand playing techniques (piano inspiration) - right hand plays melody in notes sustained by yao zhi overtop arpeggiated left hand chords (payin) - many glissandos (gua-zou) -DEGAB - solo zheng and drum accompaniment - composed from northwest China where most Uighur people live - large scale, precomposed songs and instrumental music - inspired by Dolan Muqam (pure village style) - represents rough and raw style of Uighur music - Dolan= poorest class of Uighurs, served China and known for rebellion - D F# G A C (unusual for zheng but from traditional Uighur mode) - free rhythm introduction - steady duple-meter - dap (frame drum) with head made by donkey hide/snake skin - 5 beats per measure (moon on Uighur) - generation aksak limping rhythms - gua-zou (glissandos) - ornamentation in which strings tuned to pitch A are bent slightly upwards - ostinato - four different pitched chords (instead of popular 2/3 pitch chords) from Western influence - dramatic buildup (influenced by Chinese/Western music) - played by qin - based on ancient Buddhist change - bell-like harmonics - duet of zheng and pipa - yao zhi (tremolo) - descending gua-zou (glissando) - communist song with zheng accompaniment - glorification of Mao Zedong - rationalization of CCP policies regarding Chinas ethnic minorities - emancipation of peasant masses - ideal of building socialism for China - part of the New Wave movement that integrated Chinese, Western and other musical elements - cello accompanied with pipa and other Chinese ensemble instruments

Desert Capriccio (4-32)