Arabic Music and Arabic Songs

Many theories have been offered to explain and define what music is. Some theories go as far as saying that when Prophet Moses was ordered through Archangel Gabriel to hit the stone with his cane, twelve springs flowed down the stone, each spring had its own "sound" or its own "melody", and these melodies eventually came to be what is known as traditional melodies "patterns or styles" of music", and combining the name "Moses" with the verb "Isqi" which means offer the water for your followers to quench their thirst. The two wards made the sound of the word "mousiqa" - in Arabic - or Music as it came to be called. Other equally interesting "theories" were also offered. Anyhow, the music has always had two poles: the music (tunes) accompanying the signing sound. The music has always been played by musical instruments to follow the singer whose voice or rather his musical voice provided the interest in these sung melodies.

Arabic Music and Songs before the Advent of Islam  

 During this period music and songs played major roles in the life of the people. They were mixed with magic, and beliefs.  One major attachment to music, was related to poetry "Al Khansaa" a famous female poet of that age famous for her poetic lamentations used to sing her poetry. Another famous name Al Aa'sha Qaiys (used to be called the Arab clink bells), used also to sing his love songs to Hurayra, one of the famous singers during the reign of Al Nom.   Besides that, there was the primitive Bedouin songs based on a special form of poetry called the "Rajaz" meaning extemporizing, being sung to the caravans known as Al Hidaa'. On the other hand in Makkah (Mecca) the tribes used to enjoy listening to "Al Qiyaan" - girl singers - plural of Qaynah coming with the caravans from Persia and the land of the Ceases.   In "Al Madina" known at the time as Yathrib singers were also highlighting what was known as "Majalis Al Tarab" - musical delight get together - "The Bazaar of the city of Uka's" was also a bazaar of sung poetry.   
               ARABIC MUSIC AND  SONGS
                IN EARLY ISLAM (UNTIL 660 a.d.)   

During this period the basic characteristics of singing were expressed in the following:   1) The recitation of the Holy Quran taking advantage of the world rhythm embedded in the structure of the text which gave the recitation a delight and a musical feeling of its own. 2) The introduction of the "Call for prayers" and the "hymns" recited at the time of the Hajj "pilgrimage". 3) The continuation of Al-Hidaa (songs for the caravans). 4) The acceptance of the principle that girls could sing and play their tambourines simultaneously. Most famous singers of this period was Sireen (female singer) as well as Touweiss (a male singer).

 ARABIC MUSIC SONGS DURING THE
 UMAYYAA REIGN (660-750 a.d.)

Singing and music began to form up and become distinguished particularly in Makkah. They articulated their own character during this period. Damascus - which was the capital of this Dynasty.  Arabic music and songs flourished in the homes and places of the Caliphs and rulers. The Roman Empire - being next door to the Umayyads - has had a real impact on the appreciation of music and songs. The first distinguished name during this era was (Nasheet Al Faarissi) - d. 583 a.d. who held the rudder of music and taught it to his top student."Thaaeb Khathir" - d. 683 a.d.  On the other gender's side we find "Al Qiyaan" headed by "Azza Al Maylaa" d.705 a.d. who performed weekly "concert" Another singer was Jamila (student of Khathir) who established the first musical school and formed her own performing group.
       During the reign of "Al Waleed Ibn Abdul Malik" appeared "Saeed Ibn Musgeh" d. 715 a.d. who was born in Makkah and moved later to Damascus. He played the "Oud" authored what could be called the "Grammar of music", and introduced new rhythms beats "percussion".   He was labeled the "father of traditional music".   His students included "Abdullah Ibn Sureij" d. 726 a.d. known as the veiled singer.
       During the reign of "Yazeed Ibn Abdul Malik" d. 683 a.d. a singer for the Palace "the Court" was appointed Yazid himself loved music and loved a singer "Habaabah" who died and was followed by "Sallamah"
       During the same period there were other musicians/singers such as Ibn Mihriz d. 714, "Touwaiss", and "Maa'bad" d. 743 a.d. who was called the Prince of Singers, introducing a set of seven melodies to seven poems given the name of the "fortifications of Maa'bad" because of their superb qualities.
        The Ummayad era was famous of rich music and songs, varied rhythms, varied melodies and varied musical instruments.  Another landmark during this period was the publication of the first book on musical authorship "the Book of Qiyaan" and "the Book of Tunes and Melodies" written by "Yunis Al Kaatib".  Arabic, singing was also affected by Persian music, and the Caliphs and Princes were encouraging music performance and enjoying their world of Arabic music and songs.

  ARABIC MUSIC AND  SONGS DURING THE  
 ABBASSID REIGN (750-1253 a.d.) 

When the Caliphate was transferred from Damascus to Baghdad, the Caliphs gave real attention to art and literature, many musicians and signers appeared and distinguished themselves because of the continuos encouragement of the rulers. Naturally, the closeness of Baghdad to Persian affected Arabic music by Persian in musical expression, as well as in musical instruments and so on. Two distinguished musicians singers/scholars - from a Persian Origin - became the dominant figures in the musical world, during the Abbassi era. These were Ibrahim Al Moussle dd. 806 .d and his son "Ishaaq" d. 850 a.d. Ibrahim was given the name "the Happy Paradise".  He could be considered the real father of traditional Arab music.  He was advanced in his Knowledge, committed to his music hobby and super to the music quality and the instruments.
      The talented son "Ishaaq" inherited the love and appreciation of music of the father who gave his son the best education directly or through other musicians such as "Ateeqa" one of the famous female singers during this time.      
      Other names during this period included "Ibrahim Ibn Al Mahdi' d. 839 a.d. - brother of "Harun Al Rasheed his sister "Aliyya Bint Al Mahdi", Zalzal", Yehia Al Makki, "Ismail Ibn Jamie", "That Al Khaal" and "Dananeer". Some authors/philosophers also approved and wrote on Arabic music, its rules, its vocabulary and instruments, as Al Kindi, Talkhaan, Al Faaraabi, Ibn Al Mungim, Al Khalil Ibn Ahmed, Al Isfahaani and Ibn Seena (Avi cenna).

       It should be mentioned that during the Abbassid rule of Al Motassem, Turkish music had an impact on that of the Arab people.    The Abbassids time could be considered the epic of all other times, in musical appreciation because of the flourishing of music and the continuos encouragement of the caliphs given to the musicians and singers who became a household in every palace. Just to emphasize these points it should be noted that the caliphs themselves began to sing and their performance became famous.   Some of them were "Al Waathiq Billah", "Al Muntassir Billah", "Al Mutazz Billah". Al Mu'tamid Billah" and "Ahmed Ibn Al Mutawakkil".

      ARABIC MUSIC AND  SONGS IN AL ANDALUS

 Islam entered Spain in 713 a.d.  There was an Umayyad caliphate in Gordon 755 a.d. which continued until the beginning of the 11th century, then moved to Granada. The most famous musician singer, at this time was Zeryab d. 852. "The singing black bird". He was the student of Ishaaq who competed with him.   Zeryab collected musical rules studied them further through astronomy, and added two strings to the "Oud" and he was the first to use an eagle quill to pluck the strings of the Oud.

       After the fall of Gordova 1238 a.d. the art of music and song moved to Granada where the "Muwasshah" was born this "pattern" distinguished the Andallusian era where words were to follow music and not the other way around.   After the fall of the Arab in the Andallus, most of the people escaped to North Africa where the Andalussian impact could easily be detected in their music until now.

      ARABIC MUSIC AND SONGS  
        AND THE OTTOMANS

The Ottomans conquered Constantinozole in 1453 and they made it the Capital of their empire. They introduced their music in Arab lands particularly in Egypt and Syria 1517 and in East Europe (Vienna in 1529). A very special kind of singing called the "Mawlawi" was introduced. This was a religions hymn known as "Dnikr" for Derviches.

  ARABIC MUSIC AND SONGS IN
      THE 19th and 20th CENTURIES

During this era, singing and music began to express own personalities in each of the Arab and Muslim lands. In Cairo, the "Mawaweel" (plural of Mawwaal) were introduced. In Baghdad, the "Maqamaat" (plural of Maqaam) were introduced. In Aleppo, "The Qudad" were introduced "plural of Qadd" also know the "Samah Dance" that originated in the "Dhikr" religions chanting.
      In the 19th century, and the beginning of the twentieth century has witnessed a revival and a renaissance of music, with the support and encouragement of the rulers. Many examples shined and became landmarks in music and songs such as Kamel el Khalaei, Dawud Hosni, Aboulela Mohamed, Salwa Hijazi, Abdel Hayy Hilmi and Mohamed Othman..followed by Sayyed Darwish, Mohamed Abdel Wahab only to name a few female singers included Almaz, Muhira El-Mahdiyya, Nadra, Malak, Fathiyya Ahmed, Rateeba Ahmed and the top singer Om Kalthoum.
     During the 20th century, beside Abdel Wahab, we find Zakariya Ahmed, Riyadh Al Sunbati, Mohamed El Qasabi, Ahmed Sidky, Mahmoud El-Sherif, and Farid El-Atrash. The following generation brought Mohamed El-Mougi, Sayyed Mekkawi, Kamal El Tawil and Baligh Hamdy.  These were in turn followed by Ammar El Shrei, Djamal Salama, and Omar Khayrat beside many others.  
     In Jordan, Syria, Lebanon, and Palestine, Mohamed Selim Fleifil, Omar Al Zaanni, Halim Al Roumi, Yehia Al-Lababidi, Mary Jobran, Sabah Fakhry, Wedih Al-Safi, and on the top sits Fairuz and the Brothers Rahbani, just to name a few.
    In Iraq and the Gulf, we find Mohamed Al Qubbanji, Rashid Al-Qundarji, Yussef Omar, Nazem Al Ghazali, Tarik Abdul Hakim, just to name a few. In Sudan, we find Ismail Moeen, Aisha Al Falatiyya, Abdul Karim, and Sayyid Khalifa, just to name a few.   In Yemen, we find Ayyub Larish, and Mohamed Qassim, just to name a few.
In Maghrib AlArabi, we find Mulay Ahmed El Wakil, Abdel Karim El Rayyes, Saleh Al Mehani, Abdel Kadir Al Rashid, Shubeila, Al Hajja Al Hamdawiiyya and Al Hadi Al Gouweir.
     During the thirties of the 20th centuries, the record player was introduced then came the cinemas (movies) and the broadcasting which changed the chartacter of faster and shorter songs.  In the early fifties, artists emphasized the need for good lyrics, good music, good production.
      During the eighties and the nineties, music was changed drastically through the introduction of new technologies, and new instruments, and the westernization of Arabic music as a result of the strong impact of the picture and sound media.  Songs became shorter and music took the lead. Voices were amplified and adjusted by the new technology.

AL MAQAAMAT,ARABIC MUSIC
  MELODIES TUNES

In Arabic music, there are musical frameworks developed by musicians to provide for a certain melody that expresses the "word" of the music or the song. Each has his own scale. Following are examples:
1- Raast: means the straight. In express of wisdom and comfort.
2- Dookah: A Persian name means the second melody after the Raast. It is called Al Bayyati. It basically express  courage and strength.
3- Sikkah: Also a Persian name meaning the third melody also known as Srag and Huzzam. It expresses happiness and joy.
4- Saba: A melody expresses sorrow or grief.
5- Jkarkah: meaning the fourth melody. It Is known also as Agam and Usshaag. In North Africa, it is known as  Mazmoon.
6- Hijaz: Began in Hijaz..close to religions charity.
7- Hussaini: A melody expressing a single feeling.

MUSICAL INSTRUMENTS OF   
THE  ARABIC "TAKHT" -BAND-

!-OUD: Named after the word that is made of.  It has 6 double strings that are stretched on a half-pear sound  box. 
2- QANUN: Related to the Guitar. It has 72(24 tunes) strings stretched on a wooden trapezoid sound box. It  s plucked by 2 "reecho"-quills- fixed in fingers.
3-SANTUR : It looks like the Qanun and it has 18 sets, each in strings. The strings are hit by hand carrying  light wooden hammer.
4- NAYE: Made of bamboos wood(reed) opened from both side, and having round opening along the side
5- RABAB: The origin of the violin having strings stretched on a wooden musical box and played with a bow  that slides over the strings
6- KAMAAN: It is a development of the Rabab having strings stretched on a flat wooden musical box and  played with a bow that slides over the string( entered Arabic music late 19th century)
7-DAFF: Tambourine- stretched on a round wooden frame, and having bells all around.
TABLA: Instrument used for percussion mostly made of clay with two round openings, one larger than the other, and stretched on it larger opening.

               THE ARABIC MUSICAL FORMS
    1- TAKASSEIM: There are improvisation using one more musical melody(scale) and it expresses the feeling of the musician player at the time of the performance.
2- DOULAAH  : It expresses the upbeat of the melodies.  It is played while a singer prepares him/herself to sing.  It is simple in its structure.
3- TAHMEELA: A piece of music designated to allow every musician to play the Takaseem (improvisation) and show the quality of the talent and skill of each musician.
4-BASHRAFF: It is an introduction with varied rhythms divided into four parts (Khana's) ending with what is known as (Taisei).  Three of the Khana's could be different..but at the end the Taseieem  follows with the original melody.
5-SAMAAI: A melody close to the Bashraff with smaller "Khanas".

 THE ARABIC SONGS FORMS

1-MUWASSHAH: It is one of the oldest in Arab singing form. It began in Al Andalus. It is a new form to the  Arabic poems. The singer is a "Wasslah" who has full freedom of choosing words or music.   But is usually has two parts.
2- DOOR: It is a kind of Muwasshah. It allows the singer to play with the melodies and it is composed of   "Mazhab" and "Ghosn"..and there are always Munchidoon (Coral) filling in the backstage of the   "Door" and complimenting the singer.
3- QASIDA: It is a poem. It is the oldest of singing pattern. It began covering religious areas and then developed to cover all sentimental walks of life.
MAWAAL: A special kind of folkloric poetry (Colloquial) playing on words and sing depending upon the talent and ability of the singer.
5-TAQTOOKA: A lighter song in its musical composition. Because of its simplicity it became famous, and easy to be sung. It is a bridge between traditional and folkloric songs. it expresses meanings of what goes on in the daily life.
6-MONOLOGUE: A song that tells a story in classical Arabic.
7- DIALOGUE: A song performed by two singers, usually a man and a woman. Mostly, it is a romantic song.
8- NASHEED: It is usually a patriotic song- accompanied with strings instruments accompanied with brass and percussions.
CONCLUSION:
Arabic music is very rich in its melodies and its rhythms with variation of styles and kinds. The basic differences found between Arabic and Western music is the use of the quartertone rather than the half tone...and the varied and very rich number of rhythms.