Harem (music Arabic) ♛ Kazakh belly dance ♛ Improvisation

Harem (music Arabic) ♛ Kazakh belly dance ♛ Improvisation ♛ Harem (music Arabic) ♛ Kazakh dance ♛ Vasko Mutafchiev ♛ saved to албум дупета Vasko Mutafchiev Harem (music Arabic) Arabic music or Arab music (Arabic: الموسيقى العربية‎, romanized: al-mūsīqā al-ʿArabīyah) is the music of the Arab world with all its diverse music styles and genres. Arabic countries have many rich and varied styles of music and also many linguistic dialects, with each country and region having their own traditional music.
Arabic music has a long history of interaction with many other regional musical styles and genres. It represents the music of all the peoples that make up the Arab world today, all the 22 states= Pre-Islamic period (Arabian Peninsula)
Pre-Islamic Arabian Peninsula music was similar to that of Ancient Middle Eastern music. Most historians agree that there existed distinct forms of music in the Arabian peninsula in the pre-Islamic period between the 5th and 7th century AD. Arab poets of that time—called shu`ara' al-Jahiliyah (Arabic: شعراء الجاهلية) or "Jahili poets", meaning "the poets of the period of ignorance"—used to recite poems with a high notes.
It was believed that Jinns revealed poems to poets and music to musicians. The choir at the time served as a pedagogic facility where the educated poets would recite their poems. Singing was not thought to be the work of these intellectuals and was instead entrusted to women with beautiful voices who would learn how to play some instruments used at that time such as the drum, the lute or the rebab, and perform the songs while respecting the poetic metre. The compositions were simple and every singer would sing in a single maqam. Among the notable songs of the period were the huda (from which the ghina derived), the nasb, sanad, and rukbani.
Early Islamic period
An 8th century Umayyad fresco from Qasr al-Hayr al-Gharbi, Syria.
Both compositions and improvisations in traditional Arabic music are based on the maqam system. Maqams can be realized with either vocal or instrumental music, and do not include a rhythmic component.
Al-Kindi (801–873 AD) was a notable early theorist of Arabic music. He joined several others like al-Farabi in proposing the addition of a makeshift fifth string to the oud. He published several tracts on musical theory, including the cosmological connotations of music. He identified twelve tones on the Arabic musical scale, based on the location of fingers on and the strings of the oud.
Abulfaraj (897–967) wrote the Kitab al-Aghani, an encyclopedic collection of poems and songs that runs to over 20 volumes in modern editions.
Al-Farabi (872–950) wrote a notable book on Islamic music titled Kitab al-Musiqa al-Kabir (The Great Book of Music). His pure Arabian tone system is still used in Arabic music.[4]
Al-Ghazali (1059–1111) wrote a treatise on music in Persia which declared, "Ecstasy means the state that comes from listening to music".
In 1252, Safi al-Din developed a unique form of musical notation, where rhythms were represented by geometric representation. A similar geometric representation would not appear in the Western world until 1987, when Kjell Gustafson published a method to represent a rhythm as a two-dimensional graph.[5]
Al-Andalus
Main article: Andalusian classical music
By the 11th century, Islamic Iberia had become a center for the manufacture of instruments. These goods spread gradually throughout France, influencing French troubadours, and eventually reaching the rest of Europe. The English words lute, rebec, and naker are derived from Arabic oud, rabab, and naqareh.
16th to 19th century
Bartol Gyurgieuvits (1506–1566) spent 13 years as a slave in the Ottoman empire. After escaping, he published De Turvarum ritu et caermoniis in Amsterdam in 1544. It is one of the first European books to describe music in Islamic society.[8]
20th century–present (Egypt and the Levant)
Umm Kulthum
In the early 20th century, Egypt was the first in a series of Arab countries to experience a sudden emergence of nationalism, as it became independent after 2000 years of foreign rule. Any English, French or European songs got replaced by national Egyptian music. Cairo became a center for musical innovation.
Fairuz
Female singers were some of the first to take a secular approach. Egyptian performer Umm Kulthum and Lebanese singer Fairuz were notable examples of this. Both have been popular through the decades that followed and both are considered legends of Arabic music. Across the Mediterranean, Moroccan singer Zohra Al Fassiya was the first female performer to achieve wide popularity in the Maghreb region, performing traditional Arab Andalusian folk songs and later recording numerous albums of her own.
During the 1950s and 1960s, Arabic music began to take on a more Western tone – Egyptian artists Umm Kulthum and Abdel Halim Hafez along with composers Mohammed Abdel Wahab and Baligh Hamdi pioneered the use of western instruments in Egyptian music. By the 1970s several other singers had followed suit and a strand of Arabic pop was born. Arabic pop usually consists of Western styled songs with Arabic instruments and lyrics. Melodies are often a mix between Eastern and Western. Beginning in the mid-1980s, Lydia Canaan, musical pioneer widely regarded as the first rock star of the Middle East[9][10][11][12][13] fused English lyrics and Western sound with Middle-Eastern quarter tones and microtones and became the first internationally successful Lebanese recording artist.
Western pop music was also being influenced by Arabic music in the early 1960s, leading to the development of surf music, a rock music genre that later gave rise to garage rock and punk rock.[17] Surf rock pioneer Dick Dale, a Lebanese American guitarist, was greatly influenced by the Arabic music he learnt from his uncle, particularly the oud and derbakki (doumbek) drum, skills which he later applied to his electric guitar playing when recording surf rock in the early 1960s
In the 1990s, several Arab artists have taken up such a style including Amr Diab, Najwa Karam, Elissa, Nawal Al Zoghbi, Nancy Ajram, Haifa Wehbe, Angham, Fadl Shaker, Majida Al Roumi, Wael Kfoury, Asalah Nasri, Myriam Fares, Carole Samaha, Yara, Samira Said, Hisham Abbas, Kadhem Al Saher, Mostafa Amar, Ehab Tawfik, Mohamed Fouad, Diana Haddad, Mohamed Mounir, Latifa, Cheb Khaled, George Wassouf, Hakim, Fares Karam, Julia Boutros, and Amal Hijazi.
Influence of Arabic music
See also: Islamic contributions to Medieval Europe and Influence of Arabic on other languages
12th century Arabic painting of musicians in Palermo, Sicily.
The majority of musical instruments used in European medieval and classical music have roots in Arabic musical instruments that were adopted from the medieval Arab world.They include the lute, which shares an ancestor with the oud; rebec (an ancestor of the violin) from rebab, guitar from qitara, naker from naqareh, adufe from al-duff, alboka from al-buq, anafil from al-nafir, exabeba (a type of flute) from al-shabbaba, atabal (a type of bass drum) from al-tabl, atambal from al-tinbal,[19] the balaban, castanet from kasatan, and sonajas de azófar from sunuj al-sufr.
The Arabic rabāb, also known as the spiked fiddle, is the earliest known bowed string instrument and the ancestor of all European bowed instruments, including the rebec, the Byzantine lyra, and the violin.[21][22] The Arabic oud in Arab music shares an ancestor with the European lute.[23][failed verification] The oud is also cited as a precursor to the modern guitar. The guitar has roots in the four-string oud, brought to Iberia by the Moors in the 8th century.[24] A direct ancestor of the modern guitar is the guitarra morisca (Moorish guitar), which was in use in Spain by the 12th century. By the 14th century, it was simply referred to as a guitar.
A number of medieval conical bore instruments were likely introduced or popularized by Arab musicians,[26] including the xelami (from zulami).[27]
Some scholars believe that the troubadors may have had Arabian origins, with Magda Bogin stating that the Arab poetic and musical tradition was one of several influences on European "courtly love poetry".[28] Évariste Lévi-Provençal and other scholars stated that three lines of a poem by William IX of Aquitaine were in some form of Arabic, indicating a potential Andalusian origin for his works. The scholars attempted to translate the lines in question and produced various different translations. The medievalist Istvan Frank contended that the lines were not Arabic at all, but instead the result of the rewriting of the original by a later scribe.[29]

The theory that the troubadour tradition was created by William after his experience of Moorish arts while fighting with the Reconquista in Spain has been championed by Ramón Menéndez Pidal and Idries Shah. George T. Beech states that there is only one documented battle that William fought in Spain, and it occurred towards the end of his life. Beech adds that William and his father did have Spanish individuals within their extended family, and that while there is no evidence he himself knew Arabic, he may have been friendly with some Europeans who could speak the language.[29] Others state that the notion that William created the concept of troubadours is itself incorrect, and that his "songs represent not the beginnings of a tradition but summits of achievement in that tradition."[30]
Most scholars believe that Guido of Arezzo's Solfège musical notation system had its origins in a Latin hymn,[31] but others suggest that it may have had Arabic origins instead. It has been argued that the Solfège syllables (do, re, mi, fa, sol, la, ti) may have been derived from the syllables of an Arabic solmization system Durr-i-Mufassal ("Separated Pearls") (dal, ra, mim, fa, sad, lam). This was first proposed by Meninski in his Thesaurus

Дата на публикация: 11 септември, 2021
Субтитри от: vaskomutafchiev1
Категория: Изкуство
Ключови думи: Dance (Music Belly Harem improvisation Arabic) Kazakh