Music in Egypt: experiencing music, expressing culture
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. Itsets 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 fora 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 thepervasive 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 ofmusics 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-centurytakht-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 theexamples 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 specialsolo 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.
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A Characteristic Manner of Progressing through
A Genre of Sufi Religious Music
The Eastern Arab Rhythmic Modes
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Ahmad Arab music art-music aruh azan baladi beginning Cairo call to prayer cassette CD track Chapter commonly composer created culture dance dancer duff dulab dumm eastern Arab world Egypt Egyptian colloquial ensemble example Figure genre Hakim half-flat haram heterophony hijaz hijaz tetrachord il-Kalam improvisation instrumental introduction Islam Kamil kawala Listen madh malfuf maqam rast maqamat maqsum masmudi mawwal melodic modes mizmar mizmar player modern standard Arabic mosque muezzin Muhammad muqaddima musicians muwashshah nahawand nahawand tetrachord octave percussion performance phrases played prophet qafla qanun Qur'an rast tetrachord rast's recording repeated repertoire rhythm rhythmic modes riqq sa'TdT sama'T Scott Marcus sha'bi sharqiyya mizmar Shaykh Ramadan singer singing solo song Sorour sound Sufi tabl baladT tabla takht takks taqasTm tetrachord on G tonic track 24 traditions ughniya Umm Kulthum upper tetrachords variety verse violin wahda wasla wedding Western zaffa zikr