Music in Egypt : experiencing music, expressing culture

Music in Egypt : experiencing music, expressing culture / Scott L. Marcus.

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 per...

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Bibliographic Details
Main Author: Marcus, Scott Lloyd, 1952- (Author)
Format: CD
Language:English
Published: New York : Oxford University Press, 2007.
Series:Global music series.
Subjects:
Geschichte.
Geschichte
Music > Egypt > History and criticism.
Music > Social aspects > Egypt.
Music > Religious aspects > Islam.
Egypt > Social life and customs.
CD.
Table of Contents:
  • The call to prayer : a communal endeavor
  • The Eastern Arab medodic modes : the Maqāmāt
  • Madḥ : a genre of Sufi religious music
  • The Eastern Arab rhythmic modes
  • Upper Egyptian folk music for weddings and festivals : Mizmār ensembles
  • Islam and music : is music Ḥarām?
  • Art music of the late-nineteenth/early-twentieth centuries : Takht ensembles
  • Art music of the mid-twentieth century : Umm Kulthūm and the long-song tradition
  • Zaffa (wedding procession) music
  • Present-day pop music : Ḥakim and the Shaʻbī and Shabābī genres.
  • The call to prayer: a communal endeavor. The enduring tradition. Giving the call to prayer ; A community of caller ; Responses to the call: an interactive phenomenon
  • Change. Mass-mediated broadcasts of the call to prayer
  • An uneasy juxtaposition ; The melodic aspect of the call to prayer
  • The Eastern Arab melodic modes: the Maqamat. Melodic texture ; Arab melodic theory. The scale system: pitches and intervals
  • Maqam Rast in modern Arab music theory. Tetrachords ; Transposition
  • Maqam Rast in performance. Intonation ; Accidentals ; Melodic leaps
  • Use of multiple upper tetrachords ; A characteristic progression through a Maqam's defining features. CD track 33: a Taqasim by Ali Jihad Racy ; A region for beginning the performance of a Maqam ; A special shape for the Islamic call to prayer
  • Modulation
  • Madh: a genre of Sufi religious music. The instruments in a Madh ensemble ; A coffeehouse context ; A Sufi Zikr context. Public Zikrs. Movement and changing at Zikr rituals
  • A weekly Zikr at the mosque of Sidi 'Ali
  • Music in a Madh cycle. Madh Mawwal text ; Instrumental passages ; Features shared among many eastern Arab music traditions
  • The Eastern Arab rhythmic modes. Skeletal structures: Maqsum, Masmudi Saghir, and Sa'idi ; Ornamenting the rhythms in performance ; A variety of Takk sounds
  • Other rhythms. Wahda and Zaffa ; Malfuf and Sa'udi ; Masmudi ; Sama'i ; Additional region-specific or culture-specific rhythms
  • Changes over time
  • Upper Egyptian folk music for weddings and festivals: Mizmar ensembles. A Mizmar ensemble at an upper Egyptian wedding. The ensemble ; "Tipping" ; The repertoire. Solo instrumental improvisation ; The songs "Kan 'Andi Ghazal" and "Sama 'ti Yom Rannit Khulkhal"
  • Male stick dancing at weddings
  • Sa'idi Mizmar at Saint's-day festivals. Male stick dancing at Saint's-day festivals
  • Sa'idi Mizmar/Tabl Baladi in government folk-music ensembles ; "Gypsies?" a shared middle eastern tradition ; Sa'idi Mizmar music: unique, yet partaking of a shared musical tradition
  • Islam and music: is music Haram?. The highest authorities: the Qur'an and the Hadith. Different contexts/different rulers ; Sufis: developing the "art of listening"
  • The Sama' polemic in present-day Cairo. Voices of performers on the accompanying CD ; Other voices in present-day Cairo ; Maintaining a separation between the human and the divine
  • Art music of the late-nineteenth/early-twentieth centuries: Takht ensembles. From Takht to Firqa ensembles. The Takht ensemble ; The creation of a new large ensemble: the Firqa ; The Takht repertoire: the Wasla suite form
  • Reviving the past ; Creating a Takht recording: CD tracks 9-19 ; The items in tracks 9-19. The improvisatory genres: taqasim, layali, and mawwal ; Layali ; Two mawwals
  • The instrumental Dulab and Sama'i genres ; Two precomposed song genres. The Taqtuqu "il-Bahr Nayim" ; A Muwashshah
  • The Wasla as a composite sociocultural entity ; The Tarab aesthetic
  • Art music of the mid-twentieth century: Umm Kulthum and the long-song tradition. A new superstar emerges. The development of new mass media
  • The new Ughniya (long song) genre. Umm Kulthum's new directions ; Umm Kulthum's ensemble ; Other famous Ughniya singers
  • Performances videoed and then on television ; Umm Kulthum's last years ; The Umm Kulthum song, "Aruh Li Min," on CD tracks 20-22. The hall, the stage ; The instrumental introduction (Muqaddima) ; Umm Kulthum begins to sing: the vocal refrain. The poetic text
  • Maqam Rast
  • Zaffa (wedding procession) music. A Zaffa band's performance at a five-star hotel ; The creation of the new Dumyati Zaffa ensemble. The Sharqiyya Mizmar ; Three categories of Zaffa ensemble members ; The unique Sharqiyya Mizmar style of playing Zaffa songs ; Maqam Rast and a variety of rhythms
  • Beyond Zaffa performances. A Sharqiyya Mizmar player's life story
  • Present-day pop music: Hakim and the Sha'bi and Shababi genres. A wedding performance. A typical performance schedule
  • The band ; The Sha'bi and Shababi pop-music genres ; Hakim's rise to fame. The early years ; Muhammad 'Ali street, a historic center for musicians ; Shameful, but not Haram ; Stardom ; "Modern Sha'bi" ; An international vision ; Controversy
  • Creating a Sha'bi song. Adding a Sha'bi feel to the three traditional components ; The arranger, a new fourth component
  • "Il-Kalam Da Kabir" (CD track 26). Continuity and change.

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