Music in Egypt : experiencing music, expressing culture

Abstract

Foreword: Preface: CD Track List: 1. The Call to Prayer: A Communal Endeavor The Enduring Tradition Giving the Call to Prayer: A Community of Callers: 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 2. The Eastern Arab Medodic Modes: The Maqamat Melodic Texture Arab Melodic Theory The Scale System: Pitches and Intervals: Maqam Rast in 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 Characteristic Manner of Progressing through the Rest of the Maqam A Special Shape for the Islamic Call to Prayer Modulation: 3. Madh: A Genre of Sufi Religious Music The Instruments in a Madh Ensemble A Coffeehouse Context A Sufi Zikr Context Public Zikrs Movement and Chanting at Zikr Rituals A Weekly Zikr at the Mosque of Sidi 'Ali Music in a Madh Cycle Madh Mawwal Texts Instrumental Passages: Features Shared among Many Eastern Arab Music Traditions: 4. 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 5. 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 6. Islam and Music: Is Music Haram? The Highest Authorities: The Qur'an and the Hadith Different Contexts/Different Rulers: Sufis: Developing the 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: 7. 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 Mawals The Instrumental Dulab and Sama'i Genres Two Precomposed Song Genres: The Taqtuqa il-Bahr Nayim A Muwashshah The Wasla as a Composite Sociocultural Entity The Tarab Aesthetic 8. 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 9. 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 10. Present-Day Pop Music: Hakim and the and Shababi Genres A Wedding Performance A Typical Performance Schedule: The Band The 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 Song Adding a Feel to the Three Traditional Components The Arranger, a New Fourth Component: il-Kalam Da Kabir (CD Track 26) Continuity and Change: Afterword: Glossary: References: Index:

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