LEADER 08457cam 22004694a 4500001 ocm61461922 003 OCoLC 005 20141211192854.0 008 050830s2007 nyuabg b 001 0 eng 010 2005053942 020 0195146441 (alk. paper) 020 9780195146448 (alk. paper) 020 019514645X (pbk. : alk. paper) 020 9780195146455 (pbk. : alk. paper) 035 (Sirsi) o61461922 035 (OCoLC)61461922 040 DLC |cDLC |dBAKER |dC#P |dYDXCP |dBTCTA |dUtOrBLW 042 pcc 049 EREM 050 00 ML355.E3 |bM37 2007 082 00 780.962 |222 100 1 Marcus, Scott Lloyd, |d1952- |eauthor. |=^A704439 245 10 Music in Egypt : |bexperiencing music, expressing culture / |cScott L. Marcus. 260 New York : |bOxford University Press, |c2007. 300 xxiv, 200 pages : |billustrations, maps, music ; |c22 cm + |e1 CD (4 3/4 in.). 336 text |2rdacontent 337 unmediated |2rdamedia 338 volume |2rdacarrier 490 1 Global music series 504 Includes bibliographical references (pages 183-195) and index. 505 00 |tThe call to prayer: a communal endeavor. |tThe enduring tradition. |tGiving the call to prayer ; |tA community of caller ; |tResponses to the call: an interactive phenomenon -- |tChange. |t Mass-mediated broadcasts of the call to prayer -- |tAn uneasy juxtaposition ; |tThe melodic aspect of the call to prayer -- |tThe Eastern Arab melodic modes: the Maqamat. |tMelodic texture ; |tArab melodic theory. |tThe scale system: pitches and intervals -- |tMaqam Rast in modern Arab music theory. |tTetrachords ; |tTransposition -- |tMaqam Rast in performance. |tIntonation ; |tAccidentals ; |tMelodic leaps -- |tUse of multiple upper tetrachords ; |tA characteristic progression through a Maqam's defining features. |tCD track 33: a Taqasim by Ali Jihad Racy ; |tA region for beginning the performance of a Maqam ; |tA special shape for the Islamic call to prayer -- |tModulation -- |tMadh: a genre of Sufi religious music. |tThe instruments in a Madh ensemble ; |tA coffeehouse context ; |tA Sufi Zikr context. |tPublic Zikrs. |tMovement and changing at Zikr rituals -- |tA weekly Zikr at the mosque of Sidi 'Ali -- |tMusic in a Madh cycle. |tMadh Mawwal text ; |tInstrumental passages ; |tFeatures shared among many eastern Arab music traditions -- |tThe Eastern Arab rhythmic modes. |tSkeletal structures: Maqsum, Masmudi Saghir, and Sa'idi ; |tOrnamenting the rhythms in performance ; |tA variety of Takk sounds -- |tOther rhythms. |tWahda and Zaffa ; |tMalfuf and Sa'udi ; |tMasmudi ; |tSama'i ; |tAdditional region-specific or culture-specific rhythms -- |tChanges over time -- |tUpper Egyptian folk music for weddings and festivals: Mizmar ensembles. |tA Mizmar ensemble at an upper Egyptian wedding. |tThe ensemble ; |t"Tipping" ; |tThe repertoire. |tSolo instrumental improvisation ; |tThe songs "Kan 'Andi Ghazal" and "Sama 'ti Yom Rannit Khulkhal" -- |tMale stick dancing at weddings -- |tSa'idi Mizmar at Saint's-day festivals. |tMale stick dancing at Saint's-day festivals -- |tSa'idi Mizmar/Tabl Baladi in government folk-music ensembles ; |t"Gypsies?" a shared middle eastern tradition ; |tSa'idi Mizmar music: unique, yet partaking of a shared musical tradition -- |tIslam and music: is music Haram?. |tThe highest authorities: the Qur'an and the Hadith. |tDifferent contexts/different rulers ; |tSufis: developing the "art of listening" -- |tThe Sama' polemic in present-day Cairo. |tVoices of performers on the accompanying CD ; |tOther voices in present-day Cairo ; |tMaintaining a separation between the human and the divine -- |tArt music of the late-nineteenth/early-twentieth centuries: Takht ensembles. |tFrom Takht to Firqa ensembles. |tThe Takht ensemble ; |tThe creation of a new large ensemble: the Firqa ; |tThe Takht repertoire: the Wasla suite form -- |tReviving the past ; |tCreating a Takht recording: CD tracks 9-19 ; |tThe items in tracks 9-19. |tThe improvisatory genres: taqasim, layali, and mawwal ; |tLayali ; |tTwo mawwals -- |tThe instrumental Dulab and Sama'i genres ; |tTwo precomposed song genres. |tThe Taqtuqu "il-Bahr Nayim" ; |tA Muwashshah -- |tThe Wasla as a composite sociocultural entity ; |tThe Tarab aesthetic -- |tArt music of the mid-twentieth century: Umm Kulthum and the long-song tradition. |tA new superstar emerges. |tThe development of new mass media -- |tThe new Ughniya (long song) genre. |tUmm Kulthum's new directions ; |tUmm Kulthum's ensemble ; |tOther famous Ughniya singers -- |tPerformances videoed and then on television ; |tUmm Kulthum's last years ; |tThe Umm Kulthum song, "Aruh Li Min," on CD tracks 20-22. |tThe hall, the stage ; |tThe instrumental introduction (Muqaddima) ; |tUmm Kulthum begins to sing: the vocal refrain. |tThe poetic text -- |tMaqam Rast -- |tZaffa (wedding procession) music. |tA Zaffa band's performance at a five-star hotel ; |tThe creation of the new Dumyati Zaffa ensemble. |tThe Sharqiyya Mizmar ; |tThree categories of Zaffa ensemble members ; |tThe unique Sharqiyya Mizmar style of playing Zaffa songs ; |tMaqam Rast and a variety of rhythms -- |tBeyond Zaffa performances. |tA Sharqiyya Mizmar player's life story -- |tPresent-day pop music: Hakim and the Sha'bi and Shababi genres. |tA wedding performance. |tA typical performance schedule -- |tThe band ; |tThe Sha'bi and Shababi pop-music genres ; |tHakim's rise to fame. |tThe early years ; |tMuhammad 'Ali street, a historic center for musicians ; |tShameful, but not Haram ; |tStardom ; |t"Modern Sha'bi" ; |tAn international vision ; |tControversy -- |tCreating a Sha'bi song. |tAdding a Sha'bi feel to the three traditional components ; |tThe arranger, a new fourth component -- |t"Il-Kalam Da Kabir" (CD track 26). |tContinuity and change. 520 This book 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 the pervasive 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 of musics 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, the author 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-century takht -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 the examples 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 special solo 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, this book provides a unique and hands-on introduction to the country's diverse and captivating music. 650 0 Music |zEgypt |xHistory and criticism. |=^A1240320 650 0 Music |xSocial aspects |zEgypt. |=^A537957 650 0 Music |xReligious aspects |xIslam. |=^A364988 830 0 Global music series. |=^A563337 994 C0 |bERE 590 Joyner-JOYNER MUSIC LIBRARY BOOK ACCOMPANIED BY SOUND RECORDING LOCATED AT CALL NUMBER: MusicLib CD-9636. 596 3 998 1064750