The dissertation is a critical review of modern Arab modal theory as presented i n written sources, as taught in present-day Cairo, and as conceptualized by cont emporary performers. The temporal focus of the study, the 'modern period, ' exten ds roughly from the mid-eighteenth century to the present day. The geographic fo cus is the eastern Mediterranean region ranging from Egypt to Syria and Lebanon. The first chapter introduces the modern period giving special attention to the changing position of music and music theory in Arab culture. It also introduces the main Arabic-language sources. The remainder of the dissertation is divided i nto four parts dealing with notes, tetrachords, modes, and modulation, respectiv ely. Part one considers the notes as they are conceptualized in the indigenous s ystem of Arabic/Persian note names, discusses the introduction of Western solfeg e and Western notation into Middle Eastern music culture, and analyzes concepts of tuning and intonation held by modern-period theorists and present-day perform ers. Part Two discusses melodic intervals and modern tetrachordal theory. Part T hree analyzes a number of important issues concerning the musical modes (the maq amat, s. maqam) including their number and classification. The essential element s that contribute to the definition of the individual modes are discussed in tur n in a multisectioned chapter ten; e.g., tonic, ambitus, starting notes, etc. Pa rt Four examines the role of and the rules governing modulation in contemporary practice. Within each chapter, discussions are organized chronologically, beginn ing with concepts that existed in the late-eighteenth, early-nineteenth centurie s and ending with those that exist today. A concluding chapter views aspects of music theory from a cross-cultural perspective. While the quarter-tone scale has provided an important element of continuity throughout the modern period, it is found that the concept of mode has changed drastically over the same period. Th is and other changes in the music theory occurred in response to a variety of so cial, cultural, and musical forces. In view of these changes, the modern period is best divided into three subperiods (early, middle, and present-day).

What makes hundreds of listeners cheer ecstatically at the same instant during a live concert by Egyptian diva Umm Kulthum? What is the unspoken language behind a taqsim (traditional instrumental improvisation) that performers and listeners implicitly know? How can Arabic music be so rich and diverse without resorting to harmony? Why is it so challenging to transcribe Arabic music from a recording? Inside Arabic Music answers these and many other questions from the perspective of two "insiders" to the practice of Arabic music, by documenting a performance culture and a know-how that is largely passed on orally. Arabic music has spread across the globe, influencing music from Greece all the way to India in the mid-20th century through radio and musical cinema, and global popular culture through Raqs Sharqi, known as "Bellydance" in the West. Yet despite its popularity and influence, Arabic music, and the maqam scale system at its heart, remain widely misunderstood. Inside Arabic Music de-mystifies maqam with an approach that draws theory directly from practice, and presents theoretical insights that will be useful to practitioners, from the beginner to the expert - as well as those interested in the related Persian, Central Asian, and Turkish makam traditions. Inside Arabic Music's discussion of maqam and improvisation widens general understanding of music as well, by bringing in ideas from Saussurean linguistics, network theory, and Lakoff and Johnson's theory of cognition as metaphor, with an approach parallel to Gjerdingen's analysis of Galant-period music - offering a lens into the deeper relationships among music, culture, and human community.

This book offers a comprehensive survey of the history and the development of Arab music and musical theory from its pre-Islamic roots until 1970, as well as a discussion of the major genres and forms practiced today, such as the Egyptian gīl, the Algerian raï and Palestinian hip hop; it also touches upon musical instruments and folk music.

What makes hundreds of listeners cheer ecstatically at the same instant during a live concert by Egyptian diva Umm Kulthum? What is the unspoken language behind a taqsim (traditional instrumental improvisation) that performers and listeners implicitly know? How can Arabic music be so rich and diverse without resorting to harmony? Why is it so challenging to transcribe Arabic music from a recording? Inside Arabic Music answers these and many other questions from the perspective of two "insiders" to the practice of Arabic music, by documenting a performance culture and a know-how that is largely passed on orally. Arabic music has spread across the globe, influencing music from Greece all the way to India in the mid-20th century through radio and musical cinema, and global popular culture through Raqs Sharqi, known as "Bellydance" in the West. Yet despite its popularity and influence, Arabic music, and the maqam scale system at its heart, remain widely misunderstood. Inside Arabic Music de-mystifies maqam with an approach that draws theory directly from practice, and presents theoretical insights that will be useful to practitioners, from the beginner to the expert - as well as those interested in the related Persian, Central Asian, and Turkish makam traditions. Inside Arabic Music's discussion of maqam and improvisation widens general understanding of music as well, by bringing in ideas from Saussurean linguistics, network theory, and Lakoff and Johnson's theory of cognition as metaphor, with an approach parallel to Gjerdingen's analysis of Galant-period music - offering a lens into the deeper relationships among music, culture, and human community.

"The Arabic Music Theory I book guides students through the basics of music literacy. Students will have acquired the essential skills needed to read musical scores and use solfege exercises. Topics covered will include basic rhythms, note names, time value, key signatures, and accidental notes. Music Theory II is designed to guide students through learning the basic elements of the maqam system. Students will learn to fine-tune their ear to recognize each of the main maqamaat and understand the ways in which each of them is constructed, transposed, and intertwine with one another. Complex and syncopated rhythms will also be explored"--Publisher marketing.

An accessible and wide-ranging survey of modern Arab culture covering political, intellectual and social aspects.

During the 1960s and 70s some ethnomusicologists formed relationships with music-makers and ritual specialists in an attempt to interpret how they understood their musical actions. Subsequently ethnomusicologists have studied the respects in which explicit and implicit theory is involved in communication of musical knowledge. They have observed the production of music theory in institutions of modern nation-states and have sought out groups and individuals whose theorizing is not constrained by existing institutions. They are assessing the extent to which musical terminologies of diverse languages can be interpreted in relation to general concepts without imposing the assumptions and biases of one body of existing theory. That exercise is increasingly recognized as a necessary effort of decolonization. A thorough yet concise introduction to this field, Music Theory in Ethnomusicology outlines a conception of music theory suited to cross-cultural research on musical practices.

Sound disc consists of digitally remastered musical selections originally recorded by the authors.

This title offers a history of Arabic music theory. It explores changes and continuity in the tone systems, genres and scales.