9780195146455

Music in Egypt Experiencing Music, Expressing Culture Includes CD

by
  • ISBN13:

    9780195146455

  • ISBN10:

    019514645X

  • Format: Package
  • Copyright: 11/17/2006
  • Publisher: Oxford University Press

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Supplemental Materials

What is included with this book?

  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
  • The Rental copy of this book is not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.

Summary

Music in Egypt is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Egypt provides an overview of the country's rich and dynamic contemporary musical landscape. It offers an in-depth look at specific Egyptian musical traditions, paying special attention to performers and the variety of contexts in which performances occur. The book acknowledges the pervasive presence of Islam by focusing on two Muslim performance genres and by considering the age-old issue of the compatibility of music and Islam. It accomplishes the latter by incorporating the voices of many of the performers featured on the accompanying CD. The volume features a variety of musics that reflect and help to create a number of distinct regional, national, and community identities co-existing in Egypt today. Drawing on more than twenty years of extensive fieldwork, Scott L. Marcus offers detailed ethnographic documentation of seven performance traditions found in Egypt today: the call to prayer; madh, a genre of Sufi religious music; southern Egyptian mizmar folk music; early twentieth-century takht-based art music; music by the acclaimed singer Umm Kulthum, which dominated the mid-twentieth century; wedding procession music; and music by the current superstar pop singer Hakim. The book is packaged with an 80-minute audio CD containing excellent examples of each tradition. All of the examples are based in a single melodic mode--maqam rast--to best engage students with the musical form, structure, and practice of the traditions. Separate educational tracks on the CD introduce maqam rast and the variety of rhythms found in the CD examples. In addition, the CD features a special solo improvisation (taqasim) in maqam rast by UCLA professor Ali Jihad Racy, to help students better understand this particular melodic mode. Enhanced by eyewitness accounts of performances, interviews with performers, listening examples, and song lyrics that enable students to interact with the text, Music in Egypt provides a unique and hands-on introduction to the country's diverse and captivating music.

Author Biography

Scott L. Marcus is Associate Professor of Music at the University of California, Santa Barbara

Table of Contents

Foreword xiii
Preface xv
CD Track List xxi
The Call to Prayer: A Communal Endeavor
1(15)
The Enduring Tradition
1(10)
Giving the Call to Prayer
1(5)
A Community of Callers
6(4)
Responses to the Call: An Interactive Phenomenon
10(1)
Change
11(1)
Mass-Mediated Broadcasts of the Call to Prayer
11(1)
An Uneasy Juxtaposition
12(1)
The Melodic Aspect of the Call to Prayer
13(3)
The Eastern Arab Melodic Modes: The Maqamat
16(27)
Melodic Texture
16(3)
Arab Melodic Theory
19(4)
The Scale System: Pitches and Intervals
19(4)
Maqam Rast in Modern Arab Music Theory
23(2)
Tetrachords
23(2)
Transposition
25(1)
Maqam Rast in Performance
25(18)
Intonation
25(2)
Accidentals
27(2)
Melodic Leaps
29(1)
Use of Multiple Upper Tetrachords
29(2)
A Characteristic Progression through a Maqam's Defining Features
31(2)
CD Track
33
A Taqasim by Ali Jihad Racy
31(1)
A Region for Beginning the Performance of a Maqam
31(2)
A Characteristic Manner of Progressing through the Rest of the Maqam
33(6)
A Special Shape for the Islamic Call to Prayer
39(1)
Modulation
40(3)
Madh: A Genre of Sufi Religious Music
43(17)
The Instruments in a Madh Ensemble
44(4)
A Coffeehouse Context
48(1)
A Sufi Zikr Context
49(3)
Public Zikrs
50(1)
Movement and Chanting at Zikr Rituals
50(1)
A Weekly Zikr at the Mosque of Sidi Ali
51(1)
Music in a Madh Cycle
52(8)
Madh Mawwal Texts
53(4)
Instrumental Passages
57(1)
Features Shared among Many Eastern Arab Music Traditions
58(2)
The Eastern Arab Rhythmic Modes
60(11)
Skeletal Structures: Maqsum, Masmudi Saghir and Sa'idi
60(4)
Ornamenting the Rhythms in Performance
61(2)
A Variety of Takk Sounds
63(1)
Other Rhythms
64(5)
Wahda and Zaffa
64(2)
Malfuf and Sa'udi
66(1)
Masmudi
66(1)
Sama'I
67(1)
Additional Region-Specific or Culture-Specific Rhythms
67(2)
Changes Over Time
69(2)
Upper Egyptian Folk Music for Weddings and Festivals: Mizmar Ensembles
71(18)
A Mizmar Ensemble at an Upper Egyptian Wedding
71(18)
The Ensemble
73(4)
``Tipping''
77(1)
The Repertoire
77(1)
Solo Instrumental Improvisation
78(1)
The Songs ``Kan `Andi Ghazal'' and ``Sama `ti Yom Rannit Khulkhal''
79(4)
Male Stick Dancing at Weddings
83(1)
Sa'idi Mizmar at Saint's-Day Festivals
84(1)
Male Stick Dancing at Saint's-Day Festivals
85(1)
Sa'idi Mizmar/ Tabi Baladi in Government Folk-Music Ensembles
86(1)
``Gypsies''? A Shared Middle Eastern Tradition
87(1)
Sa'idi Mizmar Music: Unique, Yet Partaking of a Shared Musical Tradition
87(2)
Islam and Music: Is Music Haram?
89(7)
The Highest Authorities: The Qur'an and the Hadith
89(2)
Different Contexts/Different Rulers
90(1)
Sufis: Developing the ``Art of Listening''
91(1)
The Sama' Polemic in Present-Day Cairo
91(5)
Voices of Performers on the Accompanying CD
91(2)
Other Voices in Present-Day Cairo
93(1)
Maintaining a Separation between the Human and the Divine
94(2)
Art Music of the Late-Nineteenth/Early-Twentieth Centuries: Takht Ensembles
96(21)
From Takht to Firqa Ensembles
97(4)
The Takht Ensemble
97(3)
The Creation of a New Large Ensemble: The Firqa
100(1)
The Takht Repertoire: The Wasla Suite Form
100(1)
Reviving the Past
101(1)
Creating a Takht Recording: CD Tracks 9--19
102(2)
The items in Tracks 9--19
104(13)
The Improvisatory Genres: Taqasim, Layali, and Mawwal
104(1)
Layali
104(1)
Two Mawals
105(2)
The Instrumental Dulab and Sama'I Genres
107(2)
Two Precomposed Song Genres
109(1)
The Taqtuqa ``il-Bahr Nayim''
109(1)
A Muwashshah
110(4)
The Wasla as a Composite Sociocultural Entity
114(1)
The Tarab Aesthetic
115(2)
Art Music of the Mid-Twentieth Century: Umm Kulthum and the Long-Song Tradition
117(22)
A New Superstar Emerges
117(2)
The Development of New Mass Media
118(1)
The New Ughniya (Long Song) Genre
119(5)
Umm Kulthum's New Directions
121(2)
Umm Kulthum's Ensemble
123(1)
Other Famous Ughniya Singers
124(1)
Performances Videoed and Then on Television
124(1)
Umm Kulthum's Last Years
125(3)
The Umm Kulthum Song, ``Aruh Li Min,'' on CD Tracks 20--22
128(11)
The Hall, the Stage
128(1)
The Instrumental Introduction (Muqaddima)
129(1)
Umm Kulthum Begins to Sing: The Vocal Refrain
130(1)
The Poetic Text
131(5)
Maqam Rast
136(3)
Zaffa (Wedding Procession) Music
139(16)
A Zaffa Band's Performance at a Five-Star Hotel
139(3)
The Creation of the New Dumyati Zaffa Ensemble
142(10)
The Sharqiyya Mizmar
143(2)
Three Categories of Zaffa Ensemble Members
145(1)
The Unique Sharqiyya Mizmar Style of Playing
146(1)
Zaffa Songs
146(4)
Maqam Rast and a Variety of Rhythms
150(2)
Beyond Zaffa Performances
152(3)
A Sharqiyya Mizmar Player's Life Story
152(3)
Present-Day Pop Music: Hakim and the Sha'bi and Shababi Genres
155(20)
A Wedding Performance
155(3)
A Typical Performance Schedule
158(1)
The Band
158(2)
The Sha'bi and Shababi Pop-Music Genres
160(2)
Hakim's Rise to Fame
162(5)
The Early Years
162(1)
Muhammad `Ali Street, a Historic Center for Musicians
163(1)
Shameful, but Not Haram
163(1)
Stardom
164(1)
``Modern Sha'bi''
165(1)
An International Vision
166(1)
Controversy
167(1)
Creating a Sha'bi Song
167(8)
Adding a Sha'bi Feel to the Three Traditional Components
167(1)
The Arranger, a New Fourth Component
168(1)
``il-Kalam Da Kabir'' (CD Track 26)
169(2)
Continuity and Change
171(4)
Afterword 175(2)
Glossary 177(6)
References 183(3)
Resources 186(10)
Index 196

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