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ÚLTIMOS ÁLBUNS.
Lola Jaffan.
Mona Maraachli.
Melhor de Mona Maraachli.
Zouhair Bahaoui.
Maritta Helani.
Mohammad Abdo.
Haifa Wehbe.
Nassif Zaitoun.
Julia Boutros.
Banda Jadal.
Sarah Ayoub.
Haidy Moussa.
No ListenArabic, você pode encontrar música árabe e últimas músicas árabes & amp; lançamentos de álbuns. Ouça música árabe grátis com alta qualidade de som MP3 para ouvir de graça. Ouça música ao vivo em árabe online gratuitamente ou baixe nossos aplicativos gratuitos de rádio para iPhone, Android, Nokia & amp; BB. Tocamos as melhores músicas árabes de um grande arquivo de música atualizado com novos álbuns e singles em 2016 que traz muitos cantores e artistas árabes do mundo árabe e do Oriente Médio.
ListenArabic Music Radio - Sintonize e ouça on-line a música árabe ao vivo e programas de rádio de entretenimento, Top Charts e notícias de rádio. Você pode ouvir o Radio ListenArabic no ShoutCast Real Player, no Winamp ou no iTunes, no Windows Media Player, no Mobile Media Player ou instalar o aplicativo gratuitamente, disponível para Android, iPhone, Blackberry e Ovi.
Acreditamos que toda pessoa tem o direito de liberar streaming de música, e a tendência atual na indústria da música reside no poder de como as pessoas descobrem, ouvem e compartilham música. ListenArabic não é nenhum site de música árabe grátis, nós nos esforçamos para trazer-lhe a música certa para cada humor e cada momento. Procure suas músicas árabes perfeitas para o seu treino, sua noite de folga, sua festa ou se deslocar pela cidade, cante com músicas de karaokê em árabe. Não há necessidade de baixar músicas árabes no seu desktop ou celular, se você pode transmitir música a qualquer hora que quiser. Estamos sempre atualizados com as principais músicas árabes listadas por países e trazemos para você os maiores sucessos árabes no chart de rádio semanal ListenArabic.
Ouça ao Vivo Rádio Música Árabe - Melhor iPhone Android Nokia BlackBerry App de ListenArabic com mais de 100.000 downloads com média de 150 ouvintes a cada segundo ouvindo música.
Tudo que você procura está aqui: Ouça música árabe on-line: faixas de música, álbuns de música, fotos, vídeos, eventos, shows de vídeo, artistas árabes biografia, músicas infantis, dança árabe mix, árabe DJs, música tendência, músicas baseadas em humor, árabe bate-papo, músicas de karaokê em árabe. Aprenda árabe on-line, aprenda a falar árabe e aprenda frases em árabe e alfabeto árabe, use o teclado árabe e converse com novos amigos enquanto curte música ao vivo árabe.
De volta à história da música árabe:
A história da música árabe combina um dilema de pensamentos e opiniões diferentes. No entanto, a música árabe, como é identificada hoje em dia, é a criação de uma arte evolucionária. Diz-se que remonta à civilização grega. A música do Oriente Médio é muito influenciada pela música grega e indiana. De fato, é a combinação da cultura grega, a cultura fenícia, a romana e a persa, e mais relacionada com o reino islâmico. As músicas árabes são de uma herança musical diversificada que todos saíram para formar a música árabe que conhecemos hoje.
Leia mais sobre Música Árabe:
Música árabe.
A música árabe, como existe hoje, é o produto da mistura de música dos árabes da Península Arábica com a música produzida pelos povos indígenas que habitavam as terras conquistadas pelos árabes após a morte do profeta Maomé. em 632 ad Os árabes traduziram textos gregos no campo da música (como em vários outros campos). Como conseqüência, é possível que a teoria musical árabe tenha sido influenciada pela dos antigos gregos.
Música na Arábia Pré-Islâmica.
Diferentes formas de música existiam na Península Arábica no período pré-islâmico entre o 5º dia a. d. e o sétimo século a. d., que era conhecido como o "Jahiliyya & rdquo; Período de Ignorância. & rdquo; Os poetas árabes pré-islâmicos costumavam recitar poemas com notas altas. As pessoas daquela época acreditavam que os poemas eram revelados aos poetas e a música era revelada aos músicos pelos jinn (criaturas espirituais que habitam um mundo invisível).
Mulheres com belas vozes fariam o canto e também tocariam alguns instrumentos que eram usados naquela época, como o tambor, o oud (similar ao alaúde europeu), ou o rabab, um tipo de instrumento de cordas que é similar ao violino. . Tem um a três cordas. Na maior parte do mundo árabe, agora foi substituído pelo violino. As canções conhecidas do período incluíram o huda (do qual o ghina foi derivado), o nasb, o sanad e o rukbani. Nos tempos pré-islâmicos, escravas cantoras cantavam para os ricos, inspiravam guerreiros com sua poesia rajaz e entretinham-se em casamentos.
Teoria Musical Árabe.
Al-Kindi (801-873 a. d.), que nasceu em al-Kufa no Iraque, era conhecido como "o Filósofo dos Árabes". Ele foi o primeiro importante teórico da música árabe no mundo árabe-islâmico. Ele escreveu 15 tratados sobre teoria musical; apenas cinco deles sobreviveram. Ele também adicionou uma quinta corda ao oud. Al-Farabi (872-950 a. d.), que nasceu no Cazaquistão, era um renomado cientista e filósofo da Idade de Ouro do Islã. Ele escreveu um famoso livro sobre música intitulado Kitab al-Musiqi al-Kabir [O Grande Livro da Música]. Foi principalmente um estudo da teoria da música persa de seu tempo. O sistema de tom árabe puro que ele descreveu ainda é usado. O grande teólogo e filósofo muçulmano Al-Ghazali (1059 - 1111 a. d.), nascido na Pérsia, escreveu um tratado sobre a música persa no qual afirmava que "êxtase significa o estado que vem da escuta da música".
O sistema Maqam.
Em geral, a música árabe é baseada na melodia e no ritmo, e não na harmonia. É essencialmente homofônico, o que significa que é caracterizado por uma única linha melódica, com acompanhamento. A música árabe tradicional é baseada no sistema maqam, que é um sistema de modos melódicos. O maqam árabe (plural: maqamat) é um tipo de melodia, que se refere a um conjunto de fórmulas, figuras e padrões melódicos. O maqam é semelhante ao modo & ldquo; & rdquo; na música clássica ocidental. O termo & ldquo; maqam & rdquo; apareceu pela primeira vez em tratados escritos por al-Sheikh al-Safadi e Abd al-Qadir al-Maraghi no século XIV. Cada maqam é construído em uma escala. Existem entre 90 e 110 maqamats na teoria da música árabe. Uma maqam geralmente cobre apenas uma oitava (geralmente dois segmentos de escala). O maqamat é então agrupado em categorias maiores, cada uma das quais é conhecida como fasila. Uma fasila é um agrupamento de maqamat, cujos quatro primeiros passos principais são os mesmos. A nota tônica, a nota dominante e a nota final são determinadas pela maqam que é empregada.
Cada maqam consiste em pelo menos dois segmentos de escala; um segmento de escala é conhecido como jins (Plural: Ajnas). A palavra & ldquo; jins & rdquo; é derivado da palavra latina genus, que significa "tipo". Um jins é geralmente composto de um trichord (três notas), um tetrachord (quatro notas) ou um pentacorde (cinco notas). Algum maqamat pode usar diferentes ajnas ao descer e ascender, como é o caso das escalas menores melódicas. Devido à inovação contínua e ao desenvolvimento de novas ajnas, a maioria dos estudiosos da música não chegou a um consenso em relação ao número total de ajnas que estão em uso. Há pelo menos oito ajnas principais: rast, bayat, sikah, hijaz, saba, kurd, nahawand e ajam. Esses ajnas têm variações comumente usadas que incluem: nakriz, athar kurd, sikah beladi e saba zamzama.
Tons Trimestrais.
A música ocidental é baseada na escala cromática, que consiste em doze passos, cada um dos quais é um semi-tom acima ou abaixo do outro. Ao contrário da escala cromática que é usada na música clássica ocidental, a entonação de maqam não é uniforme. As escalas árabes contêm muitas notas intermediárias, que às vezes são chamadas de "tons de quarto". Como resultado, a música árabe usa mais notas do que escalas musicais ocidentais. Em teoria, a escala de quarto-tom consiste em 24 notas. De acordo com Yusuf Shawqi, autor do Dicionário de Música Tradicional em Omã, menos tons são usados na prática.
Influência do al-Andalus na música ocidental.
A partir do século 11, a Espanha moura se tornou um centro para a produção de instrumentos musicais árabes. Esses instrumentos chegaram primeiro à França e depois ao resto da Europa. Por exemplo, a palavra em inglês & ldquo; lute & rdquo; vem da palavra árabe oud, a palavra & ldquo; rebec & rdquo; vem do árabe & ldquo; rabab & rdquo; e a palavra inglesa & ldquo; órgão & rdquo; vem da palavra árabe & ldquo; urghun & rdquo; O rebec foi introduzido na Europa no século XIV e é um ancestral do violino. Outros instrumentos árabes que entraram na Europa incluíram o qitara, que se tornou o "violão". O termo "qitara & rdquo; incluía vários membros da família do alaúde que eram precursores do violão moderno.
Muitos observadores acreditam que a música dos trovadores tinha origem árabe. O poeta americano Ezra Pound escreveu em seu Canto VIII que Guilherme IX, duque de Aquitânia, um dos primeiros trovadores, "trouxe a música para fora da Espanha, com os cantores e os véus". & quot; Acredito que o "grande orientalista francês", vi-Proven & ccedil, disse ter encontrado quatro versos arabo-hispânicos mais ou menos duplicados no manuscrito de Williams IX. Diz-se que Guilherme VIII da Aquitânia, pai de Guilherme IX da Aquitânia, trouxe a Poitiers centenas de prisioneiros muçulmanos, que podem trazer sua música com eles. John Brande Trend (1887-1958 a. d.), o hispanista britânico, sustentou que os trovadores derivavam seu senso de forma, bem como os temas de sua poesia dos muçulmanos andaluzes. A hipótese de que a tradição dos trovadores foi desenvolvida por William IX da Aquitânia após seu contato com a música mourisca enquanto lutava contra o R & acute; conqu & iacute; sta na Espanha, teve suas origens no italiano Giammeria Barbieri (falecido em 1575 dC) e Juan Andr & eacute; sy Morell ( 1740-1817 ad), um padre jesuíta espanhol. Também foi proposto por Ramón Men & nidez Pidal (1869-1968 ad, um filólogo e historiador espanhol, no início do século 20. Meg Bogin, uma tradutora inglesa das trovadoras, apoiou esta hipótese, assim como Idries Shah (1924- 1996 AD), o escritor nascido na Índia que foi inspirado pela tradição Sufi.
Solf & egrave; ge Notation System.
Segundo alguns observadores, o sistema de notação musical Western Solf & egrave; ge pode ter tido origens árabes. Algumas pessoas dizem que as sílabas Solf & egrave; (do, re, mi, fá, sol, la, ti) podem ter sido derivadas das sílabas do sistema de solubilização árabe Durr-i-Mufassal ("Separated Pearls") (dal , ra, mim, fa, triste, lam). Solmization é um sistema de atribuir uma sílaba distinta a cada nota em uma escala musical. A teoria de uma origem árabe para o sistema Western Solf & egrave; ge foi primeiramente proposta pelo musicólogo polonês Franciszek Meninski em seu Thesaurus Linguarum Orientalum (1680), e mais tarde por JB de Laborde em seu Essai sur la Musique Ancienne et Moderne (1780). , enquanto defensores mais recentes dessa teoria incluem Henry George Farmer, musicólogo britânico especializado em música árabe e estudioso de música Samuel D. Miller.
Propriedades da música árabe.
A música árabe é caracterizada por uma ênfase na melodia e no ritmo, ao invés de uma ênfase na harmonia. Em geral, a música árabe é homofônica, o que significa que ela possui uma única linha melódica com acompanhamento. Habib Hassan Touma (1934-1998 a. d.), um compositor e musicólogo da Palestinia, lista "cinco componentes" que caracterizam a música árabe:
1. O sistema de tom árabe, que é um sistema de ajuste musical que depende de estruturas específicas de intervalo. Foi inventado por al-Farabi no século X.
2. Estruturas rítmico-temporais que criam uma rica variedade de padrões rítmicos. Estes são conhecidos como & ldquo; awzan & rdquo; ou & quot; pesos & quot; e eles são usados para acompanhar música vocal ou instrumental medida para acentuar ou dar forma a ela.
3. Certos instrumentos musicais que são encontrados em todo o mundo árabe. Eles produzem um sistema de tom padronizado. Eles geralmente são jogados com técnicas de desempenho padronizadas e são semelhantes em construção e design.
4. A existência de gêneros musicais árabes que podem ser classificados como urbanos, rurais ou beduínos.
5. Uma mentalidade musical árabe compartilhada que produz uma homogeneidade estética das estruturas tonal-espaciais e rítmico-temporais em todo o mundo árabe, seja a música composta, improvisada, instrumental, vocal, sagrada ou secular.
Instrumentos Musicais árabes.
O arquétipo do grupo musical árabe no Egito e na Síria é conhecido como takht. Inclui instrumentos como o oud, qanun (um instrumento de corda semelhante à cítara), rabab, nay (uma forma de flauta), violino (introduzido nos anos 1840 ou 1850), riq (pandeiro) e dumbek (um cálice). tambor em forma). No Iraque, o grupo musical tradicional é conhecido como shalghi. Inclui apenas dois instrumentos melódicos: o jawza (semelhante ao rabab, mas com quatro cordas) e o santur (um dulcimer martelado iraniano). Eles são acompanhados pelo riq e pelo idiota. O mundo árabe adotou instrumentos musicais do Ocidente, incluindo a guitarra elétrica, violoncelo, contrabaixo e oboé, e também foi influenciado pelo jazz e outros estilos musicais estrangeiros.
Variações Regionais.
A música árabe moderna tem sido dominada por tendências musicais que surgiram no Cairo, que é um importante centro cultural do mundo árabe. Inovações na música popular que refletem a influência de outras regiões também surgiram do Marrocos à Arábia Saudita. Nos últimos anos, Beirute tornou-se uma importante fonte de tendências no desenvolvimento da música pop árabe. Outros estilos populares de música regional incluem o seguinte:
1. Do norte da África: música clássica andaluza, Shaabi (Argélia), Shaabi (Marrocos), Al Jil (Egito), Gnawa, Haqiba, Malhun, Mezwed e Ra퉉 (Argélia).
2. Da Península Arábica: Adani, Ardha, Fann al-Tanbura, Fiji, Khaliji, Liwa, Mizmar, Malayah, Samri, Sawt e Yawla.
3. Do Levante: O dabka (uma dança folclórica).
Influência Secular e Ocidental.
No século 20, o Egito foi o primeiro país árabe a experimentar o surgimento do nacionalismo, quando conquistou sua independência após 2.000 anos de governo estrangeiro. A música turca, que havia sido popular durante o período otomano, foi substituída pela música nacionalista com uma tendência mais secular. Cairo tornou-se um centro de inovação na música árabe. Um dos primeiros cantores a adotar uma abordagem secular foi o Umm Kulthum do Egito. Ela foi seguida pouco depois pela famosa cantora libanesa Fairuz.
Música árabe tradicional (Tarab)
Desde o desenvolvimento da indústria árabe de gravação e cinema na década de 1920, no Cairo, os cantores carregaram a bandeira da música árabe tradicional. Algumas das principais figuras da música árabe tradicional incluem Oum Kulthum, Farid al-Atrash, Asmahan, Abd al-Halim Hafez, Muhammad Abd al-Wahhab, Warda al-Jizairiyya, Fairuz, Fayza Ahmad e Sayyid Darwish. Durante os anos 1950 e 1960, a música ocidental começou a ter uma influência maior na música árabe. Os cantores Umm Kulthum e Abd al-Halim Hafez, junto com os compositores Muhammad Abd al-Wahhab e Baligh Hamdi, introduziram instrumentos ocidentais na música egípcia.
Música pop árabe.
A música pop árabe apareceu nos anos 70. Apresentava uma combinação de músicas de estilo ocidental e instrumentos e letras em árabe. As melodias pop árabes são geralmente uma mistura de música oriental e ocidental. Na década de 1990, muitos cantores adotaram esse estilo. Eles incluíram: Amr Diab (Egito), Najwa Karam (Líbano), Elissa (Líbano), Nawal Al Zohgbi (Líbano), Nancy Ajram (Líbano), Haifa Wehbe (Líbano), Majida al Roumy (Líbano), Wael Kfoury (Líbano) ), Carole Samaha (Líbano), Yara (Líbano), Samira Said (Marrocos), Hisham Abbas (Egito), Kazem al Saher (Iraque), Moustafa Qamar (Egito), Ehab Tawfik (Egito), Georges Wassouf (Síria), Fares Karam (Líbano), Julia Boutros (Líbano) e Amal Hijazi (Líbano).
Crossover Music.
Em 1996, Amr Diab lançou a canção Habibi ya Nour El Ain. Tornou-se um grande sucesso nos países árabes e no mundo todo. A faixa-título, e sua versão em inglês, Habibi, foi um grande hit de crossover internacional. Nesta música, Amr Diab combinou três heranças musicais em uma faixa. A influência espanhola foi refletida na música flamenca, a influência francesa foi refletida por um solo de acordeão, e o tocar do tambor refletiu a influência árabe. Essa música permitiu que a música árabe se tornasse popular em todo o mundo.
Hip Hop árabe, R & B e Reggae.
Nos últimos anos, surgiram a música árabe influenciada pelo R & amp; B, reggae e hip hop. Essas músicas geralmente apresentam um rapper de língua árabe. A cantora marroquina Elam Jay desenvolveu uma versão moderna do gênero Gnawa que é influenciada pelo R & amp; B. Ele chamou isso de "Gnawitone Styla". A música gnawa reflete a influência do povo hausa da Nigéria, que historicamente mantinha laços estreitos com o Marrocos. O grupo marroquino Darga introduziu outra versão da música Gnawa contemporânea que funde o Gnawa com o reggae. Artistas de reggae político tornaram-se populares na Palestina em 2011 após a estréia do Youtube de uma música sobre a Primavera Árabe que foi chamada de A Revolução Verde. Eles incluem TootArd das colinas ocupadas de Golan e Walaa Sbeit de Haifa. Shadia Mansour, um famoso rapper britânico-palestino, é conhecido como "A Primeira Dama do Hip Hop Árabe". Muitas de suas canções são sobre a causa palestina.
Jazz árabe.
O jazz árabe é caracterizado pelo uso de instrumentos de jazz. Músicos como Samir Suroor, um saxofonista egípcio, foram pioneiros no uso do saxofone no álbum "Oriental". estilo. O saxofone é usado no estilo oriental & rdquo; em certas canções de Abd al-Halim Hafez, bem como algumas canções de Kazem al Saher e Rida al Abdallah hoje. Os irmãos libaneses Rahbani foram os primeiros a incorporar elementos do jazz mainstream na música árabe. O trabalho posterior de Fairuz consistiu em grande parte de canções de jazz que foram compostas por seu filho, Ziad Rahbani. Este último foi o pioneiro do atual movimento de jazz oriental, representado por cantores como Rima Khcheich (Líbano), Salma El Mosfi (Líbano) e Latifa (Tunísia). As canções de Mohamed Mounir do Egito manifestam muita influência do jazz, começando com seu primeiro álbum, que foi lançado em 1977.
Rock Árabe.
Numerosas bandas de rock árabes fundiram rock, metal e rock alternativo com instrumentos tradicionais árabes. A rocha árabe tem atraído muita atenção ultimamente no Oriente Médio. Bandas de rock árabes incluem Jadal e Akher Zapheer, da Jordânia, Mashrou, Leila e Meen, do Líbano, Massar Egbari, Sahara, Wyvern, Cartoon Killerz, do Egito, Khalas e Chaos, da Palestina, e Acrassicauda, do Iraque. A banda HobaHoba Spirit, do Marrocos, também está se tornando cada vez mais popular. Rachid Taha de Oran, na Argélia, toca uma fusão de rock e raíz. Música Raí origin originada em Oran em 1930. Tambores, melodias e instrumentos regionais, seculares e religiosos foram fundidos com instrumentos eletrônicos ocidentais. A música Raí has foi influenciada pelo rap americano. Esta música é popular entre muitos jovens da Argélia, mas é combatida pelos fundamentalistas islâmicos, que afirmam promover valores não-islâmicos.
Música árabe on-line e móvel Android iPhone ListenArabic.
Por país.
ÚLTIMOS ÁLBUNS.
Lola Jaffan.
Mona Maraachli.
Melhor de Mona Maraachli.
Zouhair Bahaoui.
Maritta Helani.
Mohammad Abdo.
Haifa Wehbe.
Nassif Zaitoun.
Julia Boutros.
Banda Jadal.
Sarah Ayoub.
Haidy Moussa.
No ListenArabic, você pode encontrar música árabe e últimas músicas árabes & amp; lançamentos de álbuns. Ouça música árabe grátis com alta qualidade de som MP3 para ouvir de graça. Ouça música ao vivo em árabe online gratuitamente ou baixe nossos aplicativos gratuitos de rádio para iPhone, Android, Nokia & amp; BB. Tocamos as melhores músicas árabes de um grande arquivo de música atualizado com novos álbuns e singles em 2016 que traz muitos cantores e artistas árabes do mundo árabe e do Oriente Médio.
ListenArabic Music Radio - Sintonize e ouça on-line a música árabe ao vivo e programas de rádio de entretenimento, Top Charts e notícias de rádio. Você pode ouvir o Radio ListenArabic no ShoutCast Real Player, no Winamp ou no iTunes, no Windows Media Player, no Mobile Media Player ou instalar o aplicativo gratuitamente, disponível para Android, iPhone, Blackberry e Ovi.
Acreditamos que toda pessoa tem o direito de liberar streaming de música, e a tendência atual na indústria da música reside no poder de como as pessoas descobrem, ouvem e compartilham música. ListenArabic não é nenhum site de música árabe grátis, nós nos esforçamos para trazer-lhe a música certa para cada humor e cada momento. Procure suas músicas árabes perfeitas para o seu treino, sua noite de folga, sua festa ou se deslocar pela cidade, cante com músicas de karaokê em árabe. Não há necessidade de baixar músicas árabes no seu desktop ou celular, se você pode transmitir música a qualquer hora que quiser. Estamos sempre atualizados com as principais músicas árabes listadas por países e trazemos para você os maiores sucessos árabes no chart de rádio semanal ListenArabic.
Ouça ao Vivo Rádio Música Árabe - Melhor iPhone Android Nokia BlackBerry App de ListenArabic com mais de 100.000 downloads com uma média de 150 ouvintes a cada segundo ouvindo música.
Tudo que você procura está aqui: Ouça música árabe on-line: faixas de música, álbuns de música, fotos, vídeos, eventos, shows de vídeo, artistas árabes biografia, músicas infantis, dança árabe mix, árabe DJs, música tendência, músicas baseadas em humor, árabe bate-papo, músicas de karaokê em árabe. Aprenda árabe on-line, aprenda a falar árabe e aprenda frases em árabe e alfabeto árabe, use o teclado árabe e converse com novos amigos enquanto curte música ao vivo árabe.
De volta à história da música árabe:
A história da música árabe combina um dilema de pensamentos e opiniões diferentes. No entanto, a música árabe, como é identificada hoje em dia, é a criação de uma arte evolucionária. Diz-se que remonta à civilização grega. A música do Oriente Médio é muito influenciada pela música grega e indiana. De fato, é a combinação da cultura grega, a cultura fenícia, a romana e a persa, e mais relacionada com o reino islâmico. As músicas árabes são de uma herança musical diversificada que todos saíram para formar a música árabe que conhecemos hoje.
Leia mais sobre Música Árabe:
Música árabe.
A música árabe, como existe hoje, é o produto da mistura de música dos árabes da Península Arábica com a música produzida pelos povos indígenas que habitavam as terras conquistadas pelos árabes após a morte do profeta Maomé. em 632 ad Os árabes traduziram textos gregos no campo da música (como em vários outros campos). Como conseqüência, é possível que a teoria musical árabe tenha sido influenciada pela dos antigos gregos.
Música na Arábia Pré-Islâmica.
Diferentes formas de música existiam na Península Arábica no período pré-islâmico entre o 5º dia a. d. e o sétimo século a. d., que era conhecido como o "Jahiliyya & rdquo; Período de Ignorância. & rdquo; Os poetas árabes pré-islâmicos costumavam recitar poemas com notas altas. As pessoas daquela época acreditavam que os poemas eram revelados aos poetas e a música era revelada aos músicos pelos jinn (criaturas espirituais que habitam um mundo invisível).
Mulheres com belas vozes fariam o canto e também tocariam alguns instrumentos que eram usados naquela época, como o tambor, o oud (semelhante ao alaúde europeu), ou o rabab, um tipo de instrumento de cordas que é similar ao violino. . Tem um a três cordas. Na maior parte do mundo árabe, agora foi substituído pelo violino. As canções conhecidas do período incluíram o huda (do qual o ghina foi derivado), o nasb, o sanad e o rukbani. Nos tempos pré-islâmicos, escravas cantoras cantavam para os ricos, inspiravam guerreiros com sua poesia rajaz e entretinham-se em casamentos.
Teoria Musical Árabe.
Al-Kindi (801-873 a. d.), que nasceu em al-Kufa no Iraque, era conhecido como "o Filósofo dos Árabes". Ele foi o primeiro importante teórico da música árabe no mundo árabe-islâmico. Ele escreveu 15 tratados sobre teoria musical; apenas cinco deles sobreviveram. Ele também adicionou uma quinta corda ao oud. Al-Farabi (872-950 a. d.), que nasceu no Cazaquistão, era um renomado cientista e filósofo da Idade de Ouro do Islã. Ele escreveu um famoso livro sobre música intitulado Kitab al-Musiqi al-Kabir [O Grande Livro da Música]. Foi principalmente um estudo da teoria da música persa de seu tempo. O sistema de tom árabe puro que ele descreveu ainda é usado. O grande teólogo e filósofo muçulmano Al-Ghazali (1059 - 1111 a. d.), nascido na Pérsia, escreveu um tratado sobre a música persa no qual afirmava que "êxtase significa o estado que vem da escuta da música".
O sistema Maqam.
Em geral, a música árabe é baseada na melodia e no ritmo, e não na harmonia. É essencialmente homofônico, o que significa que é caracterizado por uma única linha melódica, com acompanhamento. A música árabe tradicional é baseada no sistema maqam, que é um sistema de modos melódicos. O maqam árabe (plural: maqamat) é um tipo de melodia, que se refere a um conjunto de fórmulas, figuras e padrões melódicos. O maqam é semelhante ao modo & ldquo; & rdquo; na música clássica ocidental. O termo & ldquo; maqam & rdquo; apareceu pela primeira vez em tratados escritos por al-Sheikh al-Safadi e Abd al-Qadir al-Maraghi no século XIV. Cada maqam é construído em uma escala. Existem entre 90 e 110 maqamats na teoria da música árabe. Uma maqam geralmente cobre apenas uma oitava (geralmente dois segmentos de escala). O maqamat é então agrupado em categorias maiores, cada uma das quais é conhecida como fasila. Uma fasila é um agrupamento de maqamat, cujos quatro primeiros passos principais são os mesmos. A nota tônica, a nota dominante e a nota final são determinadas pela maqam que é empregada.
Cada maqam consiste em pelo menos dois segmentos de escala; um segmento de escala é conhecido como jins (Plural: Ajnas). A palavra & ldquo; jins & rdquo; é derivado da palavra latina genus, que significa "tipo". Um jins é geralmente composto de um trichord (três notas), um tetrachord (quatro notas) ou um pentacorde (cinco notas). Algum maqamat pode usar diferentes ajnas ao descer e ascender, como é o caso das escalas menores melódicas. Devido à inovação contínua e ao desenvolvimento de novas ajnas, a maioria dos estudiosos da música não chegou a um consenso em relação ao número total de ajnas que estão em uso. Há pelo menos oito ajnas principais: rast, bayat, sikah, hijaz, saba, kurd, nahawand e ajam. Esses ajnas têm variações comumente usadas que incluem: nakriz, athar kurd, sikah beladi e saba zamzama.
Tons Trimestrais.
A música ocidental é baseada na escala cromática, que consiste em doze passos, cada um dos quais é um semi-tom acima ou abaixo do outro. Ao contrário da escala cromática que é usada na música clássica ocidental, a entonação de maqam não é uniforme. As escalas árabes contêm muitas notas intermediárias, que às vezes são chamadas de "tons de quarto". Como resultado, a música árabe usa mais notas do que escalas musicais ocidentais. Em teoria, a escala de quarto-tom consiste em 24 notas. De acordo com Yusuf Shawqi, autor do Dicionário de Música Tradicional em Omã, menos tons são usados na prática.
Influência do al-Andalus na música ocidental.
A partir do século 11, a Espanha moura se tornou um centro para a produção de instrumentos musicais árabes. Esses instrumentos chegaram primeiro à França e depois ao resto da Europa. Por exemplo, a palavra em inglês & ldquo; lute & rdquo; vem da palavra árabe oud, a palavra & ldquo; rebec & rdquo; vem do árabe & ldquo; rabab & rdquo; e a palavra inglesa & ldquo; órgão & rdquo; vem da palavra árabe & ldquo; urghun & rdquo; O rebec foi introduzido na Europa no século XIV e é um ancestral do violino. Outros instrumentos árabes que entraram na Europa incluíram o qitara, que se tornou o "violão". O termo "qitara & rdquo; incluía vários membros da família do alaúde que eram precursores do violão moderno.
Muitos observadores acreditam que a música dos trovadores tinha origem árabe. O poeta americano Ezra Pound escreveu em seu Canto VIII que Guilherme IX, duque de Aquitânia, um dos primeiros trovadores, "trouxe a música para fora da Espanha, com os cantores e os véus". & quot; Acredito que o "grande orientalista francês", vi-Proven & ccedil, disse ter encontrado quatro versos arabo-hispânicos mais ou menos duplicados no manuscrito de Williams IX. Diz-se que Guilherme VIII da Aquitânia, pai de Guilherme IX da Aquitânia, trouxe a Poitiers centenas de prisioneiros muçulmanos, que podem trazer sua música com eles. John Brande Trend (1887-1958 a. d.), o hispanista britânico, sustentou que os trovadores derivavam seu senso de forma, bem como os temas de sua poesia dos muçulmanos andaluzes. A hipótese de que a tradição dos trovadores foi desenvolvida por William IX da Aquitânia após seu contato com a música mourisca enquanto lutava contra o R & acute; conqu & iacute; sta na Espanha, teve suas origens no italiano Giammeria Barbieri (falecido em 1575 dC) e Juan Andr & eacute; sy Morell ( 1740-1817 ad), um padre jesuíta espanhol. Também foi proposto por Ramón Men & nidez Pidal (1869-1968 ad, um filólogo e historiador espanhol, no começo do século 20. Meg Bogin, uma tradutora inglesa das trovadoras, apoiou esta hipótese, assim como Idries Shah (1924- 1996 AD), o escritor nascido na Índia que foi inspirado pela tradição Sufi.
Solf & egrave; ge Notation System.
Segundo alguns observadores, o sistema de notação musical Western Solf & egrave; ge pode ter tido origens árabes. Algumas pessoas dizem que as sílabas Solf & egrave; (do, re, mi, fá, sol, la, ti) podem ter sido derivadas das sílabas do sistema de solubilização árabe Durr-i-Mufassal ("Separated Pearls") (dal , ra, mim, fa, triste, lam). Solmization é um sistema de atribuir uma sílaba distinta a cada nota em uma escala musical. A teoria de uma origem árabe para o sistema Western Solf & egrave; ge foi primeiramente proposta pelo musicólogo polonês Franciszek Meninski em seu Thesaurus Linguarum Orientalum (1680), e mais tarde por JB de Laborde em seu Essai sur la Musique Ancienne et Moderne (1780). , enquanto defensores mais recentes dessa teoria incluem Henry George Farmer, musicólogo britânico especializado em música árabe e estudioso de música Samuel D. Miller.
Propriedades da música árabe.
A música árabe é caracterizada por uma ênfase na melodia e no ritmo, ao invés de uma ênfase na harmonia. Em geral, a música árabe é homofônica, o que significa que ela possui uma única linha melódica com acompanhamento. Habib Hassan Touma (1934-1998 a. d.), um compositor e musicólogo da Palestinia, lista "cinco componentes" que caracterizam a música árabe:
1. O sistema de tom árabe, que é um sistema de ajuste musical que depende de estruturas específicas de intervalo. Foi inventado por al-Farabi no século X.
2. Estruturas rítmico-temporais que criam uma rica variedade de padrões rítmicos. Estes são conhecidos como & ldquo; awzan & rdquo; ou & quot; pesos & quot; and they are used to accompany metered vocal or instrumental music in order to accent it or to give it form.
3. Certain musical instruments that are found throughout the Arab world. They produce a standardized tone system. They are usually played with standardized performance techniques, and they are similar in construction and design.
4. The existence of Arabic musical genres that can be broadly classified as urban, rural, or Bedouin.
5. A shared Arab musical mentality that produces an esthetic homogeneity of the tonal-spatial and rhythmic-temporal structures throughout the Arab world, whether the music is composed, improvised, instrumental, vocal, sacred or secular.
Arabic Musical Instruments.
The archetypal Arabic musical group in Egypt and Syria is known as the takht. It includes instruments such as the oud, qanun (a string instrument similar to the zither), rabab, nay (a form of flute), violin (introduced in the 1840s or 1850s), riq (tambourine), and dumbek (a goblet-shaped drum). In Iraq, the traditional musical group is known as the shalghi. It includes only two melodic instruments: the jawza (similar to the rabab, but with four strings) and the santur (an Iranian hammered dulcimer). They are accompanied by the riq and the dumbek. The Arab world has adopted musical instruments from the West, including the electric guitar, cello, double bass and oboe, and it has also been influenced by jazz and other foreign musical styles.
Regional Variations.
Modern Arabic music has long been dominated by musical trends that have emerged in Cairo, which is a major cultural center of the Arab world. Innovations in popular music that reflect the influence of other regions have also appeared from Morocco to Saudi Arabia. In recent years, Beirut has become a major source of trends in the development of Arabic pop music. Other popular, regional music styles include the following:
1. From North Africa: Andalusian classical music, Shaabi (Algeria), Shaabi (Morocco), Al Jil (Egypt), Gnawa, Haqiba, Malhun, Mezwed, and Raȉ (Algeria).
2. From the Arabian Peninsula: Adani, Ardha, Fann al-Tanbura, Fijiri, Khaliji, Liwa, Mizmar, Malayah, Samri, Sawt, and Yawla.
3. From the Levant: The dabka (a folk dance).
Secular and Western Influence.
In the 20th century, Egypt was the first Arab country to experience the emergence of nationalism, as it gained its independence after 2,000 years of foreign rule. Turkish music, which had been popular during the Ottoman period, was replaced by nationalistic music with a more secular bent. Cairo became a center of innovation in Arabic music. One of the first singers to adopt a secular approach was Egypt’s Umm Kulthum. She was followed shortly afterwards by the famous Lebanese singer Fairuz.
Traditional Arabic Music (Tarab)
Since the development of the Arabic recording and film industry in the 1920s in Cairo, the singers have carried the banner for traditional Arabic music. Some of the major figures in traditional Arabic music include Oum Kulthum, Farid al-Atrash, Asmahan, Abd al-Halim Hafez, Muhammad Abd al-Wahhab, Warda al-Jizairiyya, Fairuz, Fayza Ahmad, and Sayyid Darwish. During the 1950s and the 1960s, Western music began to have a greater influence on Arabic music. Singers Umm Kulthum and Abd al-Halim Hafez, along with composers Muhammad Abd al-Wahhab and Baligh Hamdi, introduced Western instruments into Egyptian music.
Arabic Pop Music.
Arabic pop music appeared in the 1970s. It featured a combination of Western-styled songs and Arabic instruments and lyrics. Arabic pop melodies are usually a blend of Eastern and Western music. In the 1990s, many singers adopted this style. They included: Amr Diab (Egypt), Najwa Karam (Lebanon), Elissa (Lebanon), Nawal Al Zohgbi (Lebanon), Nancy Ajram (Lebanon), Haifa Wehbe (Lebanon), Majida al Roumy (Lebanon), Wael Kfoury (Lebanon), Carole Samaha (Lebanon), Yara (Lebanon), Samira Said (Morocco), Hisham Abbas (Egypt), Kazem al Saher (Iraq), Moustafa Qamar (Egypt), Ehab Tawfik (Egypt), Georges Wassouf (Syria), Fares Karam (Lebanon), Julia Boutros (Lebanon), and Amal Hijazi (Lebanon).
Crossover Music.
In 1996, Amr Diab released the song Habibi ya Nour El Ain . It became a great success in the Arab countries as well as worldwide. The title track, and its English version Habibi, was a big, international crossover hit. In this song, Amr Diab combined three musical heritages in one track. The Spanish influence was reflected in flamenco music, the French influence was reflected by an accordion solo, and the drum playing reflected the Arabic influence. This song enabled Arabic music to become popular throughout the world.
Arabic Hip Hop, R&B, and Reggae.
In the past few years, R&B, reggae and hip hop-influenced Arabic music has emerged. These songs usually feature an Arabic-language rapper. The Moroccan singer Elam Jay has developed a modern version of the Gnawa genre that is influenced by R&B. He has called it “Gnawitone Styla.” Gnawa music reflects the influence of the Hausa people from Nigeria, who historically had close ties with Morocco. The Moroccan group Darga has introduced another version of contemporary Gnawa music that fuses Gnawa with reggae. Political reggae artists became popular in Palestine in 2011 after the Youtube premiere of a song about the Arab Spring that was called The Green Revolution. They include TootArd from the occupied Golan Heights and Walaa Sbeit from Haifa. Shadia Mansour, a well-known Palestinian-British rapper, is known as "The First Lady of Arab Hip Hop." Many of her songs are about the Palestinian cause.
Arabic Jazz.
Arabic jazz is characterized by the use of jazz instruments. Musicians such as Samir Suroor, an Egyptian saxophonist, pioneered the use of the saxophone in the "Oriental" estilo. The saxophone is used in the “oriental style” in certain songs by Abd al-Halim Hafez, as well as certain songs by Kazem al Saher and Rida al Abdallah today. The Lebanese Rahbani brothers were the first to incorporate elements of mainstream jazz into Arabic music. Fairuz’s later work consisted largely of jazz songs that were composed by her son, Ziad Rahbani. The latter was the pioneer of today's Oriental jazz movement, represented by singers such as Rima Khcheich (Lebanon), Salma El Mosfi (Lebanon), and Latifa (Tunisia). Egypt’s Mohamed Mounir's songs manifest much jazz influence, beginning with his first album, which was released in 1977.
Arabic Rock.
Numerous Arab rock bands have fused rock, metal, and alternative rock sounds with traditional Arabic instruments. Arabic rock has been attracting a great deal of attention lately in the Middle East. Arabic rock bands include Jadal and Akher Zapheer from Jordan, Mashrou’Leila and Meen from Lebanon, Massar Egbari, Sahara, Wyvern, and Cartoon Killerz from Egypt, Khalas and Chaos from Palestine, and Acrassicauda from Iraq. The band HobaHoba Spirit from Morocco is also becoming more and more popular. Rachid Taha from Oran, Algeria plays a fusion of rock and raИ‰. RaИ‰ music originated in Oran in the 1930’s. Regional, secular, and religious drumbeats, melodies, and instruments were fused with Western electronic instruments. RaИ‰ music has been influenced by American rap music. This music is popular with many young people in Algeria, but it is opposed by Islamic fundamentalists, who claim that it promotes un-Islamic values.
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Back in the History of Arabic Music :
The history of Arabic music combines a dilemma of thoughts and different opinions. However, the Arabic Music as it is identified nowadays is the creation of an evolutionary art. It is said to date back to the Greek civilization. Music of the Middle East is very much influenced by the Greek and Indian music. In fact, it is the combination of Greek culture, the Phoenician culture, the Roman and the Persian, and more related to the Islamic kingdom. The Arabic songs are of a diverse musical inheritance that has all come out to form the Arab Music that we know today.
Read more about Arabic Music:
Arabic Music.
Arabic music, as it exists today, is the product of the blending of music from the Arabs of the Arabian Peninsula with the music that was produced by the indigenous people who inhabited the lands that were conquered by the Arabs after the death of the Prophet Muhammad in 632 a. d. The Arabs translated Greek texts in the field of music (as in various other fields). As a consequence, it is possible that Arabic musical theory was influenced by that of the ancient Greeks.
Music in Pre-Islamic Arabia.
Distinct forms of music existed in the Arabian Peninsula in the pre-Islamic period between the 5th a. d. and the 7th century a. d., which was known as the “Jahiliyya” period or “Period of Ignorance.” Pre-Islamic Arab poets used to recite poems with high notes. People of that time believed that poems were revealed to poets and music was revealed to musicians by the jinn (spiritual creatures who inhabit an unseen world).
Women with beautiful voices would do the singing and also play some instruments that were used at that time, such as the drum, the oud (similar to the European lute), or the rabab, a type of stringed instrument that is similar to the violin. It has one to three strings. In most of the Arab world, it has now been replaced by the violin. The well-known songs of the period included the huda (from which the ghina was derived), the nasb, the sanad, and the rukbani. In pre-Islamic times, female singing slaves sung for the rich people, inspired warriors with their rajaz poetry, and entertained at weddings.
Arabic Musical Theory.
Al-Kindi (801-873 a. d.), who was born in al-Kufa in Iraq, was known as “the Philosopher of the Arabs.” He was the first important theoretician of Arab music in the Arabo-Islamic world. He wrote 15 treatises on music theory; only five of them have survived. He also added a fifth string to the oud. Al-Farabi (872-950 a. d.), who was born in Kazakhstan, was a renowned scientist and philosopher of the Golden Age of Islam. He wrote a famous book on music that was titled Kitab al-Musiqi al-Kabir [The Great Book of Music]. It was primarily a study of the theory of Persian music of his time. The pure Arabic tone system that he described is still used. The great Muslim theologian and philosopher Al-Ghazali (1059–1111 a. d.), who was born in Persia, wrote a treatise on Persian music in which he stated that “ecstasy means the state that comes from listening to music".
The Maqam System.
In general, Arab music is based on melody and rhythm, rather than on harmony. It is essentially homophonic, which means that it is characterized by a single melodic line, with accompaniment. Traditional Arabic music is based on the maqam system, which is a system of melodic modes. The Arabic maqam (plural: maqamat) is a melody type, which refers to a set of melodic formulas, figures, and patterns. The maqam is similar to the “mode” in Western classical music. The term “maqam” first appeared in treatises that were written by al-Sheikh al-Safadi and Abd al-Qadir al-Maraghi in the 14th century. Each maqam is built on a scale. There are between 90 and 110 maqamat in Arabic music theory. A maqam generally covers only one octave (usually two scale segments).The maqamat are then grouped into larger categories, each one of which is known as a fasila. A fasila is a grouping of maqamat, the first four primary pitches of which are the same. The tonic note, the dominant note, and the ending note are determined by the maqam that is employed.
Each maqam consists of at least two scale segments; a scale segment is known as a jins (Plural: Ajnas). The word “jins” is derived from the Latin word genus, meaning "type". A jins is usually composed of a trichord (three notes), a tetrachord (four notes), or a pentachord (five notes). Some maqamat may use different ajnas when descending and ascending, as is the case with melodic minor scales. Because of continuous innovation and the development of new ajnas, most music scholars have not reached a consensus with regard to the total number of ajnas that are in use. There are at least eight major ajnas: rast, bayat, sikah, hijaz, saba, kurd, nahawand, and ajam. These ajnas have commonly used variations that include: nakriz, athar kurd, sikah beladi, and saba zamzama.
Quarter Tones.
Western music is based on the chromatic scale, which consists of twelve pitches, each of which is a semi-tone above or below the other. Unlike the chromatic scale that is used in Western classical music, maqam intonation is not even-tempered. Arabic scales contain many in-between notes, which are sometimes called “quarter tones.” As a result, Arabic music uses more notes than do Western musical scales. In theory, the quarter-tone scale consists of 24 notes. According to Yusuf Shawqi, author of Dictionary of Traditional Music in Oman, fewer tones are used in practice.
Influence of al-Andalus on Western Music.
As of the 11th century, Moorish Spain had become a center for the production of Arabic musical instruments. These instruments first found their way to France, and then to the rest of Europe. For example, the English word “lute” comes from the Arabic word oud, the word “rebec” comes from the Arabic “rabab,” and the English word “organ” comes from the Arabic word “urghun.” The rebec was introduced into Europe in the 14th century, and it an ancestor of the violin. Other Arabic instruments that entered Europe included the qitara, which became the “guitar.” The term “qitara” included various members of the lute family that were precursors to the modern guitar.
Many observers believe that the music of the troubadours had Arabic origins. The American poet Ezra Pound wrote in his Canto VIII that William IX, Duke of Aquitaine, an early troubadour, "had brought the song up out of Spain, with the singers and veils. & quot; Lévi-Provençal, the great French Orientalist, is said to have found four Arabo-Hispanic verses more or less duplicated in Williams IX’s manuscript. William VIII of Aquitaine, the father of William IX of Aquitaine, is said to have brought to Poitiers hundreds of Muslim prisoners, who may brought their music with them. John Brande Trend (1887-1958 a. d.), the British Hispanist, contended that the troubadours derived their sense of form as well as the themes of their poetry from the Andalusian Muslims. The hypothesis that the troubadour tradition was developed by William IX of Aquitaine after his contact with Moorish music while fighting with the Réconquísta in Spain traces its origins to the Italian Giammeria Barbieri (died 1575 a. d.) and Juan Andrés y Morell (1740-1817 a. d.), a Spanish Jesuit priest. It was also propounded by RamПЊn Menéndez Pidal (1869-1968 a. d., a Spanish philologist and historian, in the early 20th century. Meg Bogin, an English translator of the female troubadours, supported this hypothesis, as did Idries Shah (1924-1996 A. D.), the Indian-born writer who was inspired by the Sufi tradition.
Solfège Notation System.
According to some observers, the Western Solfège musical notation system may have had Arabic origins. Some people say that the Solfège syllables (do, re, mi, fa, sol, la, ti) may have been derived from the syllables of the Arabic solmization system Durr-i-Mufassal ("Separated Pearls") (dal, ra, mim, fa, sad, lam). Solmization is a system of assigning a distinct syllable to each note in a musical scale. The theory of an Arabic origin to the Western Solfège system was first proposed by the Polish musicologist Franciszek Meninski in his Thesaurus Linguarum Orientalum (1680), and later on by J. B. de Laborde in his Essai sur la Musique Ancienne et Moderne (1780), while more recent proponents of this theory include Henry George Farmer, a British musicologist who specialized in Arabic music, and music scholar Samuel D. Miller.
Properties of Arab Music.
Arabic music is characterized by an emphasis on melody and rhythm, rather than an emphasis on harmony. In general, Arabic music is homophonic, which means that it has a single melodic line with accompaniment. Habib Hassan Touma (1934-1998 a. d.), a Palestiniain composer and musicologist, lists "five components" that characterize Arabic music:
1. The Arabic tone system, which is a musical tuning system that relies on specific interval structures. It was invented by al-Farabi in the 10th century.
2. Rhythmic-temporal structures that create a rich variety of rhythmic patterns. These are known as “awzan,” or "weights," and they are used to accompany metered vocal or instrumental music in order to accent it or to give it form.
3. Certain musical instruments that are found throughout the Arab world. They produce a standardized tone system. They are usually played with standardized performance techniques, and they are similar in construction and design.
4. The existence of Arabic musical genres that can be broadly classified as urban, rural, or Bedouin.
5. A shared Arab musical mentality that produces an esthetic homogeneity of the tonal-spatial and rhythmic-temporal structures throughout the Arab world, whether the music is composed, improvised, instrumental, vocal, sacred or secular.
Arabic Musical Instruments.
The archetypal Arabic musical group in Egypt and Syria is known as the takht. It includes instruments such as the oud, qanun (a string instrument similar to the zither), rabab, nay (a form of flute), violin (introduced in the 1840s or 1850s), riq (tambourine), and dumbek (a goblet-shaped drum). In Iraq, the traditional musical group is known as the shalghi. It includes only two melodic instruments: the jawza (similar to the rabab, but with four strings) and the santur (an Iranian hammered dulcimer). They are accompanied by the riq and the dumbek. The Arab world has adopted musical instruments from the West, including the electric guitar, cello, double bass and oboe, and it has also been influenced by jazz and other foreign musical styles.
Regional Variations.
Modern Arabic music has long been dominated by musical trends that have emerged in Cairo, which is a major cultural center of the Arab world. Innovations in popular music that reflect the influence of other regions have also appeared from Morocco to Saudi Arabia. In recent years, Beirut has become a major source of trends in the development of Arabic pop music. Other popular, regional music styles include the following:
1. From North Africa: Andalusian classical music, Shaabi (Algeria), Shaabi (Morocco), Al Jil (Egypt), Gnawa, Haqiba, Malhun, Mezwed, and Raȉ (Algeria).
2. From the Arabian Peninsula: Adani, Ardha, Fann al-Tanbura, Fijiri, Khaliji, Liwa, Mizmar, Malayah, Samri, Sawt, and Yawla.
3. From the Levant: The dabka (a folk dance).
Secular and Western Influence.
In the 20th century, Egypt was the first Arab country to experience the emergence of nationalism, as it gained its independence after 2,000 years of foreign rule. Turkish music, which had been popular during the Ottoman period, was replaced by nationalistic music with a more secular bent. Cairo became a center of innovation in Arabic music. One of the first singers to adopt a secular approach was Egypt’s Umm Kulthum. She was followed shortly afterwards by the famous Lebanese singer Fairuz.
Traditional Arabic Music (Tarab)
Since the development of the Arabic recording and film industry in the 1920s in Cairo, the singers have carried the banner for traditional Arabic music. Some of the major figures in traditional Arabic music include Oum Kulthum, Farid al-Atrash, Asmahan, Abd al-Halim Hafez, Muhammad Abd al-Wahhab, Warda al-Jizairiyya, Fairuz, Fayza Ahmad, and Sayyid Darwish. During the 1950s and the 1960s, Western music began to have a greater influence on Arabic music. Singers Umm Kulthum and Abd al-Halim Hafez, along with composers Muhammad Abd al-Wahhab and Baligh Hamdi, introduced Western instruments into Egyptian music.
Arabic Pop Music.
Arabic pop music appeared in the 1970s. It featured a combination of Western-styled songs and Arabic instruments and lyrics. Arabic pop melodies are usually a blend of Eastern and Western music. In the 1990s, many singers adopted this style. They included: Amr Diab (Egypt), Najwa Karam (Lebanon), Elissa (Lebanon), Nawal Al Zohgbi (Lebanon), Nancy Ajram (Lebanon), Haifa Wehbe (Lebanon), Majida al Roumy (Lebanon), Wael Kfoury (Lebanon), Carole Samaha (Lebanon), Yara (Lebanon), Samira Said (Morocco), Hisham Abbas (Egypt), Kazem al Saher (Iraq), Moustafa Qamar (Egypt), Ehab Tawfik (Egypt), Georges Wassouf (Syria), Fares Karam (Lebanon), Julia Boutros (Lebanon), and Amal Hijazi (Lebanon).
Crossover Music.
In 1996, Amr Diab released the song Habibi ya Nour El Ain . It became a great success in the Arab countries as well as worldwide. The title track, and its English version Habibi, was a big, international crossover hit. In this song, Amr Diab combined three musical heritages in one track. The Spanish influence was reflected in flamenco music, the French influence was reflected by an accordion solo, and the drum playing reflected the Arabic influence. This song enabled Arabic music to become popular throughout the world.
Arabic Hip Hop, R&B, and Reggae.
In the past few years, R&B, reggae and hip hop-influenced Arabic music has emerged. These songs usually feature an Arabic-language rapper. The Moroccan singer Elam Jay has developed a modern version of the Gnawa genre that is influenced by R&B. He has called it “Gnawitone Styla.” Gnawa music reflects the influence of the Hausa people from Nigeria, who historically had close ties with Morocco. The Moroccan group Darga has introduced another version of contemporary Gnawa music that fuses Gnawa with reggae. Political reggae artists became popular in Palestine in 2011 after the Youtube premiere of a song about the Arab Spring that was called The Green Revolution. They include TootArd from the occupied Golan Heights and Walaa Sbeit from Haifa. Shadia Mansour, a well-known Palestinian-British rapper, is known as "The First Lady of Arab Hip Hop." Many of her songs are about the Palestinian cause.
Arabic Jazz.
Arabic jazz is characterized by the use of jazz instruments. Musicians such as Samir Suroor, an Egyptian saxophonist, pioneered the use of the saxophone in the "Oriental" estilo. The saxophone is used in the “oriental style” in certain songs by Abd al-Halim Hafez, as well as certain songs by Kazem al Saher and Rida al Abdallah today. The Lebanese Rahbani brothers were the first to incorporate elements of mainstream jazz into Arabic music. Fairuz’s later work consisted largely of jazz songs that were composed by her son, Ziad Rahbani. The latter was the pioneer of today's Oriental jazz movement, represented by singers such as Rima Khcheich (Lebanon), Salma El Mosfi (Lebanon), and Latifa (Tunisia). Egypt’s Mohamed Mounir's songs manifest much jazz influence, beginning with his first album, which was released in 1977.
Arabic Rock.
Numerous Arab rock bands have fused rock, metal, and alternative rock sounds with traditional Arabic instruments. Arabic rock has been attracting a great deal of attention lately in the Middle East. Arabic rock bands include Jadal and Akher Zapheer from Jordan, Mashrou’Leila and Meen from Lebanon, Massar Egbari, Sahara, Wyvern, and Cartoon Killerz from Egypt, Khalas and Chaos from Palestine, and Acrassicauda from Iraq. The band HobaHoba Spirit from Morocco is also becoming more and more popular. Rachid Taha from Oran, Algeria plays a fusion of rock and raИ‰. RaИ‰ music originated in Oran in the 1930’s. Regional, secular, and religious drumbeats, melodies, and instruments were fused with Western electronic instruments. RaИ‰ music has been influenced by American rap music. This music is popular with many young people in Algeria, but it is opposed by Islamic fundamentalists, who claim that it promotes un-Islamic values.
Arabic Music Online & Mobile Android iPhone ListenArabic.
Por país.
LATEST ALBUMS.
Lola Jaffan.
Mona Maraachli.
Best of Mona Maraachli.
Zouhair Bahaoui.
Maritta Helani.
Mohammad Abdo.
Haifa Wehbe.
Nassif Zaitoun.
Julia Boutros.
Jadal Band.
Sarah Ayoub.
Haidy Moussa.
On ListenArabic, you can find Arabic music and latest Arabic songs & album releases. Listen to Arabic music free with high MP3 sound quality for free listening. Listen to Live Arabic music online for Free or download our Free radio Apps for iPhone, Android, Nokia & BB. We play the best Arabic songs from a large music archive updated with new 2016 Arabic albums and singles that features many Arabic singers and artists from the Arab world and the Middle East.
ListenArabic Music Radio - Tune in and Listen online to Arabic music live and entertainment radio shows, Top Charts and news talk radio. You can listen to Radio ListenArabic on ShoutCast Real Player, Winamp or iTunes, Windows media player , Mobile Media Player, or install the app for Free, available for Android, iPhone, Blackberry and Ovi.
We believe that every person has the right to free streaming music, and the trend today in the music industry lies in the power of how the way people discover, listen to, and share music. ListenArabic is not any free Arabic music website, we strive to bring you the right music for every mood and every moment. Search for your perfect Arabic songs for your workout, your night in, your party or moving around the city, sing along Arabic Karaoke songs. No need to download Arabic music on your desktop or mobile if you can stream music anytime you like. We are always up-to-date with top Arabic songs listed by countries and bring you the top Arabic hits in ListenArabic weekly radio chart.
Listen to Live Arabic Music Radio - Best iPhone Android Nokia BlackBerry App from ListenArabic with more than 100,000 downloads with average 150 listeners every second listening to music.
All you search for is here: Listen Arabic Music Online: Song Tracks, Music Albums, Pictures, Videos, Events, video concerts, Arabic Artists Biography, Kids Songs, Arabic Mix Dance, Arabic DJs, Music Trend, Songs based on Mood, Arabic chat, Arabic Karaoke Songs. Learn Arabic online, Learn to speak Arabic, and Learn Arabic Phrases and Arabic Alphabet, Use Arabic Keyboard and chat with new friends while enjoying Live Arabic music.
Back in the History of Arabic Music :
The history of Arabic music combines a dilemma of thoughts and different opinions. However, the Arabic Music as it is identified nowadays is the creation of an evolutionary art. It is said to date back to the Greek civilization. Music of the Middle East is very much influenced by the Greek and Indian music. In fact, it is the combination of Greek culture, the Phoenician culture, the Roman and the Persian, and more related to the Islamic kingdom. The Arabic songs are of a diverse musical inheritance that has all come out to form the Arab Music that we know today.
Read more about Arabic Music:
Arabic Music.
Arabic music, as it exists today, is the product of the blending of music from the Arabs of the Arabian Peninsula with the music that was produced by the indigenous people who inhabited the lands that were conquered by the Arabs after the death of the Prophet Muhammad in 632 a. d. The Arabs translated Greek texts in the field of music (as in various other fields). As a consequence, it is possible that Arabic musical theory was influenced by that of the ancient Greeks.
Music in Pre-Islamic Arabia.
Distinct forms of music existed in the Arabian Peninsula in the pre-Islamic period between the 5th a. d. and the 7th century a. d., which was known as the “Jahiliyya” period or “Period of Ignorance.” Pre-Islamic Arab poets used to recite poems with high notes. People of that time believed that poems were revealed to poets and music was revealed to musicians by the jinn (spiritual creatures who inhabit an unseen world).
Women with beautiful voices would do the singing and also play some instruments that were used at that time, such as the drum, the oud (similar to the European lute), or the rabab, a type of stringed instrument that is similar to the violin. It has one to three strings. In most of the Arab world, it has now been replaced by the violin. The well-known songs of the period included the huda (from which the ghina was derived), the nasb, the sanad, and the rukbani. In pre-Islamic times, female singing slaves sung for the rich people, inspired warriors with their rajaz poetry, and entertained at weddings.
Arabic Musical Theory.
Al-Kindi (801-873 a. d.), who was born in al-Kufa in Iraq, was known as “the Philosopher of the Arabs.” He was the first important theoretician of Arab music in the Arabo-Islamic world. He wrote 15 treatises on music theory; only five of them have survived. He also added a fifth string to the oud. Al-Farabi (872-950 a. d.), who was born in Kazakhstan, was a renowned scientist and philosopher of the Golden Age of Islam. He wrote a famous book on music that was titled Kitab al-Musiqi al-Kabir [The Great Book of Music]. It was primarily a study of the theory of Persian music of his time. The pure Arabic tone system that he described is still used. The great Muslim theologian and philosopher Al-Ghazali (1059–1111 a. d.), who was born in Persia, wrote a treatise on Persian music in which he stated that “ecstasy means the state that comes from listening to music".
The Maqam System.
In general, Arab music is based on melody and rhythm, rather than on harmony. It is essentially homophonic, which means that it is characterized by a single melodic line, with accompaniment. Traditional Arabic music is based on the maqam system, which is a system of melodic modes. The Arabic maqam (plural: maqamat) is a melody type, which refers to a set of melodic formulas, figures, and patterns. The maqam is similar to the “mode” in Western classical music. The term “maqam” first appeared in treatises that were written by al-Sheikh al-Safadi and Abd al-Qadir al-Maraghi in the 14th century. Each maqam is built on a scale. There are between 90 and 110 maqamat in Arabic music theory. A maqam generally covers only one octave (usually two scale segments).The maqamat are then grouped into larger categories, each one of which is known as a fasila. A fasila is a grouping of maqamat, the first four primary pitches of which are the same. The tonic note, the dominant note, and the ending note are determined by the maqam that is employed.
Each maqam consists of at least two scale segments; a scale segment is known as a jins (Plural: Ajnas). The word “jins” is derived from the Latin word genus, meaning "type". A jins is usually composed of a trichord (three notes), a tetrachord (four notes), or a pentachord (five notes). Some maqamat may use different ajnas when descending and ascending, as is the case with melodic minor scales. Because of continuous innovation and the development of new ajnas, most music scholars have not reached a consensus with regard to the total number of ajnas that are in use. There are at least eight major ajnas: rast, bayat, sikah, hijaz, saba, kurd, nahawand, and ajam. These ajnas have commonly used variations that include: nakriz, athar kurd, sikah beladi, and saba zamzama.
Quarter Tones.
Western music is based on the chromatic scale, which consists of twelve pitches, each of which is a semi-tone above or below the other. Unlike the chromatic scale that is used in Western classical music, maqam intonation is not even-tempered. Arabic scales contain many in-between notes, which are sometimes called “quarter tones.” As a result, Arabic music uses more notes than do Western musical scales. In theory, the quarter-tone scale consists of 24 notes. According to Yusuf Shawqi, author of Dictionary of Traditional Music in Oman, fewer tones are used in practice.
Influence of al-Andalus on Western Music.
As of the 11th century, Moorish Spain had become a center for the production of Arabic musical instruments. These instruments first found their way to France, and then to the rest of Europe. For example, the English word “lute” comes from the Arabic word oud, the word “rebec” comes from the Arabic “rabab,” and the English word “organ” comes from the Arabic word “urghun.” The rebec was introduced into Europe in the 14th century, and it an ancestor of the violin. Other Arabic instruments that entered Europe included the qitara, which became the “guitar.” The term “qitara” included various members of the lute family that were precursors to the modern guitar.
Many observers believe that the music of the troubadours had Arabic origins. The American poet Ezra Pound wrote in his Canto VIII that William IX, Duke of Aquitaine, an early troubadour, "had brought the song up out of Spain, with the singers and veils. & quot; Lévi-Provençal, the great French Orientalist, is said to have found four Arabo-Hispanic verses more or less duplicated in Williams IX’s manuscript. William VIII of Aquitaine, the father of William IX of Aquitaine, is said to have brought to Poitiers hundreds of Muslim prisoners, who may brought their music with them. John Brande Trend (1887-1958 a. d.), the British Hispanist, contended that the troubadours derived their sense of form as well as the themes of their poetry from the Andalusian Muslims. The hypothesis that the troubadour tradition was developed by William IX of Aquitaine after his contact with Moorish music while fighting with the Réconquísta in Spain traces its origins to the Italian Giammeria Barbieri (died 1575 a. d.) and Juan Andrés y Morell (1740-1817 a. d.), a Spanish Jesuit priest. It was also propounded by RamПЊn Menéndez Pidal (1869-1968 a. d., a Spanish philologist and historian, in the early 20th century. Meg Bogin, an English translator of the female troubadours, supported this hypothesis, as did Idries Shah (1924-1996 A. D.), the Indian-born writer who was inspired by the Sufi tradition.
Solfège Notation System.
According to some observers, the Western Solfège musical notation system may have had Arabic origins. Some people say that the Solfège syllables (do, re, mi, fa, sol, la, ti) may have been derived from the syllables of the Arabic solmization system Durr-i-Mufassal ("Separated Pearls") (dal, ra, mim, fa, sad, lam). Solmization is a system of assigning a distinct syllable to each note in a musical scale. The theory of an Arabic origin to the Western Solfège system was first proposed by the Polish musicologist Franciszek Meninski in his Thesaurus Linguarum Orientalum (1680), and later on by J. B. de Laborde in his Essai sur la Musique Ancienne et Moderne (1780), while more recent proponents of this theory include Henry George Farmer, a British musicologist who specialized in Arabic music, and music scholar Samuel D. Miller.
Properties of Arab Music.
Arabic music is characterized by an emphasis on melody and rhythm, rather than an emphasis on harmony. In general, Arabic music is homophonic, which means that it has a single melodic line with accompaniment. Habib Hassan Touma (1934-1998 a. d.), a Palestiniain composer and musicologist, lists "five components" that characterize Arabic music:
1. The Arabic tone system, which is a musical tuning system that relies on specific interval structures. It was invented by al-Farabi in the 10th century.
2. Rhythmic-temporal structures that create a rich variety of rhythmic patterns. These are known as “awzan,” or "weights," and they are used to accompany metered vocal or instrumental music in order to accent it or to give it form.
3. Certain musical instruments that are found throughout the Arab world. They produce a standardized tone system. They are usually played with standardized performance techniques, and they are similar in construction and design.
4. The existence of Arabic musical genres that can be broadly classified as urban, rural, or Bedouin.
5. A shared Arab musical mentality that produces an esthetic homogeneity of the tonal-spatial and rhythmic-temporal structures throughout the Arab world, whether the music is composed, improvised, instrumental, vocal, sacred or secular.
Arabic Musical Instruments.
The archetypal Arabic musical group in Egypt and Syria is known as the takht. It includes instruments such as the oud, qanun (a string instrument similar to the zither), rabab, nay (a form of flute), violin (introduced in the 1840s or 1850s), riq (tambourine), and dumbek (a goblet-shaped drum). In Iraq, the traditional musical group is known as the shalghi. It includes only two melodic instruments: the jawza (similar to the rabab, but with four strings) and the santur (an Iranian hammered dulcimer). They are accompanied by the riq and the dumbek. The Arab world has adopted musical instruments from the West, including the electric guitar, cello, double bass and oboe, and it has also been influenced by jazz and other foreign musical styles.
Regional Variations.
Modern Arabic music has long been dominated by musical trends that have emerged in Cairo, which is a major cultural center of the Arab world. Innovations in popular music that reflect the influence of other regions have also appeared from Morocco to Saudi Arabia. In recent years, Beirut has become a major source of trends in the development of Arabic pop music. Other popular, regional music styles include the following:
1. From North Africa: Andalusian classical music, Shaabi (Algeria), Shaabi (Morocco), Al Jil (Egypt), Gnawa, Haqiba, Malhun, Mezwed, and Raȉ (Algeria).
2. From the Arabian Peninsula: Adani, Ardha, Fann al-Tanbura, Fijiri, Khaliji, Liwa, Mizmar, Malayah, Samri, Sawt, and Yawla.
3. From the Levant: The dabka (a folk dance).
Secular and Western Influence.
In the 20th century, Egypt was the first Arab country to experience the emergence of nationalism, as it gained its independence after 2,000 years of foreign rule. Turkish music, which had been popular during the Ottoman period, was replaced by nationalistic music with a more secular bent. Cairo became a center of innovation in Arabic music. One of the first singers to adopt a secular approach was Egypt’s Umm Kulthum. She was followed shortly afterwards by the famous Lebanese singer Fairuz.
Traditional Arabic Music (Tarab)
Since the development of the Arabic recording and film industry in the 1920s in Cairo, the singers have carried the banner for traditional Arabic music. Some of the major figures in traditional Arabic music include Oum Kulthum, Farid al-Atrash, Asmahan, Abd al-Halim Hafez, Muhammad Abd al-Wahhab, Warda al-Jizairiyya, Fairuz, Fayza Ahmad, and Sayyid Darwish. During the 1950s and the 1960s, Western music began to have a greater influence on Arabic music. Singers Umm Kulthum and Abd al-Halim Hafez, along with composers Muhammad Abd al-Wahhab and Baligh Hamdi, introduced Western instruments into Egyptian music.
Arabic Pop Music.
Arabic pop music appeared in the 1970s. It featured a combination of Western-styled songs and Arabic instruments and lyrics. Arabic pop melodies are usually a blend of Eastern and Western music. In the 1990s, many singers adopted this style. They included: Amr Diab (Egypt), Najwa Karam (Lebanon), Elissa (Lebanon), Nawal Al Zohgbi (Lebanon), Nancy Ajram (Lebanon), Haifa Wehbe (Lebanon), Majida al Roumy (Lebanon), Wael Kfoury (Lebanon), Carole Samaha (Lebanon), Yara (Lebanon), Samira Said (Morocco), Hisham Abbas (Egypt), Kazem al Saher (Iraq), Moustafa Qamar (Egypt), Ehab Tawfik (Egypt), Georges Wassouf (Syria), Fares Karam (Lebanon), Julia Boutros (Lebanon), and Amal Hijazi (Lebanon).
Crossover Music.
In 1996, Amr Diab released the song Habibi ya Nour El Ain . It became a great success in the Arab countries as well as worldwide. The title track, and its English version Habibi, was a big, international crossover hit. In this song, Amr Diab combined three musical heritages in one track. The Spanish influence was reflected in flamenco music, the French influence was reflected by an accordion solo, and the drum playing reflected the Arabic influence. This song enabled Arabic music to become popular throughout the world.
Arabic Hip Hop, R&B, and Reggae.
In the past few years, R&B, reggae and hip hop-influenced Arabic music has emerged. These songs usually feature an Arabic-language rapper. The Moroccan singer Elam Jay has developed a modern version of the Gnawa genre that is influenced by R&B. He has called it “Gnawitone Styla.” Gnawa music reflects the influence of the Hausa people from Nigeria, who historically had close ties with Morocco. The Moroccan group Darga has introduced another version of contemporary Gnawa music that fuses Gnawa with reggae. Political reggae artists became popular in Palestine in 2011 after the Youtube premiere of a song about the Arab Spring that was called The Green Revolution. They include TootArd from the occupied Golan Heights and Walaa Sbeit from Haifa. Shadia Mansour, a well-known Palestinian-British rapper, is known as "The First Lady of Arab Hip Hop." Many of her songs are about the Palestinian cause.
Arabic Jazz.
Arabic jazz is characterized by the use of jazz instruments. Musicians such as Samir Suroor, an Egyptian saxophonist, pioneered the use of the saxophone in the "Oriental" estilo. The saxophone is used in the “oriental style” in certain songs by Abd al-Halim Hafez, as well as certain songs by Kazem al Saher and Rida al Abdallah today. The Lebanese Rahbani brothers were the first to incorporate elements of mainstream jazz into Arabic music. Fairuz’s later work consisted largely of jazz songs that were composed by her son, Ziad Rahbani. The latter was the pioneer of today's Oriental jazz movement, represented by singers such as Rima Khcheich (Lebanon), Salma El Mosfi (Lebanon), and Latifa (Tunisia). Egypt’s Mohamed Mounir's songs manifest much jazz influence, beginning with his first album, which was released in 1977.
Arabic Rock.
Numerous Arab rock bands have fused rock, metal, and alternative rock sounds with traditional Arabic instruments. Arabic rock has been attracting a great deal of attention lately in the Middle East. Arabic rock bands include Jadal and Akher Zapheer from Jordan, Mashrou’Leila and Meen from Lebanon, Massar Egbari, Sahara, Wyvern, and Cartoon Killerz from Egypt, Khalas and Chaos from Palestine, and Acrassicauda from Iraq. The band HobaHoba Spirit from Morocco is also becoming more and more popular. Rachid Taha from Oran, Algeria plays a fusion of rock and raИ‰. RaИ‰ music originated in Oran in the 1930’s. Regional, secular, and religious drumbeats, melodies, and instruments were fused with Western electronic instruments. RaИ‰ music has been influenced by American rap music. This music is popular with many young people in Algeria, but it is opposed by Islamic fundamentalists, who claim that it promotes un-Islamic values.
Arabic Music Online & Mobile Android iPhone ListenArabic.
Por país.
LATEST ALBUMS.
Lola Jaffan.
Mona Maraachli.
Best of Mona Maraachli.
Zouhair Bahaoui.
Maritta Helani.
Mohammad Abdo.
Haifa Wehbe.
Nassif Zaitoun.
Julia Boutros.
Jadal Band.
Sarah Ayoub.
Haidy Moussa.
On ListenArabic, you can find Arabic music and latest Arabic songs & album releases. Listen to Arabic music free with high MP3 sound quality for free listening. Listen to Live Arabic music online for Free or download our Free radio Apps for iPhone, Android, Nokia & BB. We play the best Arabic songs from a large music archive updated with new 2016 Arabic albums and singles that features many Arabic singers and artists from the Arab world and the Middle East.
ListenArabic Music Radio - Tune in and Listen online to Arabic music live and entertainment radio shows, Top Charts and news talk radio. You can listen to Radio ListenArabic on ShoutCast Real Player, Winamp or iTunes, Windows media player , Mobile Media Player, or install the app for Free, available for Android, iPhone, Blackberry and Ovi.
We believe that every person has the right to free streaming music, and the trend today in the music industry lies in the power of how the way people discover, listen to, and share music. ListenArabic is not any free Arabic music website, we strive to bring you the right music for every mood and every moment. Search for your perfect Arabic songs for your workout, your night in, your party or moving around the city, sing along Arabic Karaoke songs. No need to download Arabic music on your desktop or mobile if you can stream music anytime you like. We are always up-to-date with top Arabic songs listed by countries and bring you the top Arabic hits in ListenArabic weekly radio chart.
Listen to Live Arabic Music Radio - Best iPhone Android Nokia BlackBerry App from ListenArabic with more than 100,000 downloads with average 150 listeners every second listening to music.
All you search for is here: Listen Arabic Music Online: Song Tracks, Music Albums, Pictures, Videos, Events, video concerts, Arabic Artists Biography, Kids Songs, Arabic Mix Dance, Arabic DJs, Music Trend, Songs based on Mood, Arabic chat, Arabic Karaoke Songs. Learn Arabic online, Learn to speak Arabic, and Learn Arabic Phrases and Arabic Alphabet, Use Arabic Keyboard and chat with new friends while enjoying Live Arabic music.
Back in the History of Arabic Music :
The history of Arabic music combines a dilemma of thoughts and different opinions. However, the Arabic Music as it is identified nowadays is the creation of an evolutionary art. It is said to date back to the Greek civilization. Music of the Middle East is very much influenced by the Greek and Indian music. In fact, it is the combination of Greek culture, the Phoenician culture, the Roman and the Persian, and more related to the Islamic kingdom. The Arabic songs are of a diverse musical inheritance that has all come out to form the Arab Music that we know today.
Read more about Arabic Music:
Arabic Music.
Arabic music, as it exists today, is the product of the blending of music from the Arabs of the Arabian Peninsula with the music that was produced by the indigenous people who inhabited the lands that were conquered by the Arabs after the death of the Prophet Muhammad in 632 a. d. The Arabs translated Greek texts in the field of music (as in various other fields). As a consequence, it is possible that Arabic musical theory was influenced by that of the ancient Greeks.
Music in Pre-Islamic Arabia.
Distinct forms of music existed in the Arabian Peninsula in the pre-Islamic period between the 5th a. d. and the 7th century a. d., which was known as the “Jahiliyya” period or “Period of Ignorance.” Pre-Islamic Arab poets used to recite poems with high notes. People of that time believed that poems were revealed to poets and music was revealed to musicians by the jinn (spiritual creatures who inhabit an unseen world).
Women with beautiful voices would do the singing and also play some instruments that were used at that time, such as the drum, the oud (similar to the European lute), or the rabab, a type of stringed instrument that is similar to the violin. It has one to three strings. In most of the Arab world, it has now been replaced by the violin. The well-known songs of the period included the huda (from which the ghina was derived), the nasb, the sanad, and the rukbani. In pre-Islamic times, female singing slaves sung for the rich people, inspired warriors with their rajaz poetry, and entertained at weddings.
Arabic Musical Theory.
Al-Kindi (801-873 a. d.), who was born in al-Kufa in Iraq, was known as “the Philosopher of the Arabs.” He was the first important theoretician of Arab music in the Arabo-Islamic world. He wrote 15 treatises on music theory; only five of them have survived. He also added a fifth string to the oud. Al-Farabi (872-950 a. d.), who was born in Kazakhstan, was a renowned scientist and philosopher of the Golden Age of Islam. He wrote a famous book on music that was titled Kitab al-Musiqi al-Kabir [The Great Book of Music]. It was primarily a study of the theory of Persian music of his time. The pure Arabic tone system that he described is still used. The great Muslim theologian and philosopher Al-Ghazali (1059–1111 a. d.), who was born in Persia, wrote a treatise on Persian music in which he stated that “ecstasy means the state that comes from listening to music".
The Maqam System.
In general, Arab music is based on melody and rhythm, rather than on harmony. It is essentially homophonic, which means that it is characterized by a single melodic line, with accompaniment. Traditional Arabic music is based on the maqam system, which is a system of melodic modes. The Arabic maqam (plural: maqamat) is a melody type, which refers to a set of melodic formulas, figures, and patterns. The maqam is similar to the “mode” in Western classical music. The term “maqam” first appeared in treatises that were written by al-Sheikh al-Safadi and Abd al-Qadir al-Maraghi in the 14th century. Each maqam is built on a scale. There are between 90 and 110 maqamat in Arabic music theory. A maqam generally covers only one octave (usually two scale segments).The maqamat are then grouped into larger categories, each one of which is known as a fasila. A fasila is a grouping of maqamat, the first four primary pitches of which are the same. The tonic note, the dominant note, and the ending note are determined by the maqam that is employed.
Each maqam consists of at least two scale segments; a scale segment is known as a jins (Plural: Ajnas). The word “jins” is derived from the Latin word genus, meaning "type". A jins is usually composed of a trichord (three notes), a tetrachord (four notes), or a pentachord (five notes). Some maqamat may use different ajnas when descending and ascending, as is the case with melodic minor scales. Because of continuous innovation and the development of new ajnas, most music scholars have not reached a consensus with regard to the total number of ajnas that are in use. There are at least eight major ajnas: rast, bayat, sikah, hijaz, saba, kurd, nahawand, and ajam. These ajnas have commonly used variations that include: nakriz, athar kurd, sikah beladi, and saba zamzama.
Quarter Tones.
Western music is based on the chromatic scale, which consists of twelve pitches, each of which is a semi-tone above or below the other. Unlike the chromatic scale that is used in Western classical music, maqam intonation is not even-tempered. Arabic scales contain many in-between notes, which are sometimes called “quarter tones.” As a result, Arabic music uses more notes than do Western musical scales. In theory, the quarter-tone scale consists of 24 notes. According to Yusuf Shawqi, author of Dictionary of Traditional Music in Oman, fewer tones are used in practice.
Influence of al-Andalus on Western Music.
As of the 11th century, Moorish Spain had become a center for the production of Arabic musical instruments. These instruments first found their way to France, and then to the rest of Europe. For example, the English word “lute” comes from the Arabic word oud, the word “rebec” comes from the Arabic “rabab,” and the English word “organ” comes from the Arabic word “urghun.” The rebec was introduced into Europe in the 14th century, and it an ancestor of the violin. Other Arabic instruments that entered Europe included the qitara, which became the “guitar.” The term “qitara” included various members of the lute family that were precursors to the modern guitar.
Many observers believe that the music of the troubadours had Arabic origins. The American poet Ezra Pound wrote in his Canto VIII that William IX, Duke of Aquitaine, an early troubadour, "had brought the song up out of Spain, with the singers and veils. & quot; Lévi-Provençal, the great French Orientalist, is said to have found four Arabo-Hispanic verses more or less duplicated in Williams IX’s manuscript. William VIII of Aquitaine, the father of William IX of Aquitaine, is said to have brought to Poitiers hundreds of Muslim prisoners, who may brought their music with them. John Brande Trend (1887-1958 a. d.), the British Hispanist, contended that the troubadours derived their sense of form as well as the themes of their poetry from the Andalusian Muslims. The hypothesis that the troubadour tradition was developed by William IX of Aquitaine after his contact with Moorish music while fighting with the Réconquísta in Spain traces its origins to the Italian Giammeria Barbieri (died 1575 a. d.) and Juan Andrés y Morell (1740-1817 a. d.), a Spanish Jesuit priest. It was also propounded by RamПЊn Menéndez Pidal (1869-1968 a. d., a Spanish philologist and historian, in the early 20th century. Meg Bogin, an English translator of the female troubadours, supported this hypothesis, as did Idries Shah (1924-1996 A. D.), the Indian-born writer who was inspired by the Sufi tradition.
Solfège Notation System.
According to some observers, the Western Solfège musical notation system may have had Arabic origins. Some people say that the Solfège syllables (do, re, mi, fa, sol, la, ti) may have been derived from the syllables of the Arabic solmization system Durr-i-Mufassal ("Separated Pearls") (dal, ra, mim, fa, sad, lam). Solmization is a system of assigning a distinct syllable to each note in a musical scale. The theory of an Arabic origin to the Western Solfège system was first proposed by the Polish musicologist Franciszek Meninski in his Thesaurus Linguarum Orientalum (1680), and later on by J. B. de Laborde in his Essai sur la Musique Ancienne et Moderne (1780), while more recent proponents of this theory include Henry George Farmer, a British musicologist who specialized in Arabic music, and music scholar Samuel D. Miller.
Properties of Arab Music.
Arabic music is characterized by an emphasis on melody and rhythm, rather than an emphasis on harmony. In general, Arabic music is homophonic, which means that it has a single melodic line with accompaniment. Habib Hassan Touma (1934-1998 a. d.), a Palestiniain composer and musicologist, lists "five components" that characterize Arabic music:
1. The Arabic tone system, which is a musical tuning system that relies on specific interval structures. It was invented by al-Farabi in the 10th century.
2. Rhythmic-temporal structures that create a rich variety of rhythmic patterns. These are known as “awzan,” or "weights," and they are used to accompany metered vocal or instrumental music in order to accent it or to give it form.
3. Certain musical instruments that are found throughout the Arab world. They produce a standardized tone system. They are usually played with standardized performance techniques, and they are similar in construction and design.
4. The existence of Arabic musical genres that can be broadly classified as urban, rural, or Bedouin.
5. A shared Arab musical mentality that produces an esthetic homogeneity of the tonal-spatial and rhythmic-temporal structures throughout the Arab world, whether the music is composed, improvised, instrumental, vocal, sacred or secular.
Arabic Musical Instruments.
The archetypal Arabic musical group in Egypt and Syria is known as the takht. It includes instruments such as the oud, qanun (a string instrument similar to the zither), rabab, nay (a form of flute), violin (introduced in the 1840s or 1850s), riq (tambourine), and dumbek (a goblet-shaped drum). In Iraq, the traditional musical group is known as the shalghi. It includes only two melodic instruments: the jawza (similar to the rabab, but with four strings) and the santur (an Iranian hammered dulcimer). They are accompanied by the riq and the dumbek. The Arab world has adopted musical instruments from the West, including the electric guitar, cello, double bass and oboe, and it has also been influenced by jazz and other foreign musical styles.
Regional Variations.
Modern Arabic music has long been dominated by musical trends that have emerged in Cairo, which is a major cultural center of the Arab world. Innovations in popular music that reflect the influence of other regions have also appeared from Morocco to Saudi Arabia. In recent years, Beirut has become a major source of trends in the development of Arabic pop music. Other popular, regional music styles include the following:
1. From North Africa: Andalusian classical music, Shaabi (Algeria), Shaabi (Morocco), Al Jil (Egypt), Gnawa, Haqiba, Malhun, Mezwed, and Raȉ (Algeria).
2. From the Arabian Peninsula: Adani, Ardha, Fann al-Tanbura, Fijiri, Khaliji, Liwa, Mizmar, Malayah, Samri, Sawt, and Yawla.
3. From the Levant: The dabka (a folk dance).
Secular and Western Influence.
In the 20th century, Egypt was the first Arab country to experience the emergence of nationalism, as it gained its independence after 2,000 years of foreign rule. Turkish music, which had been popular during the Ottoman period, was replaced by nationalistic music with a more secular bent. Cairo became a center of innovation in Arabic music. One of the first singers to adopt a secular approach was Egypt’s Umm Kulthum. She was followed shortly afterwards by the famous Lebanese singer Fairuz.
Traditional Arabic Music (Tarab)
Since the development of the Arabic recording and film industry in the 1920s in Cairo, the singers have carried the banner for traditional Arabic music. Some of the major figures in traditional Arabic music include Oum Kulthum, Farid al-Atrash, Asmahan, Abd al-Halim Hafez, Muhammad Abd al-Wahhab, Warda al-Jizairiyya, Fairuz, Fayza Ahmad, and Sayyid Darwish. During the 1950s and the 1960s, Western music began to have a greater influence on Arabic music. Singers Umm Kulthum and Abd al-Halim Hafez, along with composers Muhammad Abd al-Wahhab and Baligh Hamdi, introduced Western instruments into Egyptian music.
Arabic Pop Music.
Arabic pop music appeared in the 1970s. It featured a combination of Western-styled songs and Arabic instruments and lyrics. Arabic pop melodies are usually a blend of Eastern and Western music. In the 1990s, many singers adopted this style. They included: Amr Diab (Egypt), Najwa Karam (Lebanon), Elissa (Lebanon), Nawal Al Zohgbi (Lebanon), Nancy Ajram (Lebanon), Haifa Wehbe (Lebanon), Majida al Roumy (Lebanon), Wael Kfoury (Lebanon), Carole Samaha (Lebanon), Yara (Lebanon), Samira Said (Morocco), Hisham Abbas (Egypt), Kazem al Saher (Iraq), Moustafa Qamar (Egypt), Ehab Tawfik (Egypt), Georges Wassouf (Syria), Fares Karam (Lebanon), Julia Boutros (Lebanon), and Amal Hijazi (Lebanon).
Crossover Music.
In 1996, Amr Diab released the song Habibi ya Nour El Ain . It became a great success in the Arab countries as well as worldwide. The title track, and its English version Habibi, was a big, international crossover hit. In this song, Amr Diab combined three musical heritages in one track. The Spanish influence was reflected in flamenco music, the French influence was reflected by an accordion solo, and the drum playing reflected the Arabic influence. This song enabled Arabic music to become popular throughout the world.
Arabic Hip Hop, R&B, and Reggae.
In the past few years, R&B, reggae and hip hop-influenced Arabic music has emerged. These songs usually feature an Arabic-language rapper. The Moroccan singer Elam Jay has developed a modern version of the Gnawa genre that is influenced by R&B. He has called it “Gnawitone Styla.” Gnawa music reflects the influence of the Hausa people from Nigeria, who historically had close ties with Morocco. The Moroccan group Darga has introduced another version of contemporary Gnawa music that fuses Gnawa with reggae. Political reggae artists became popular in Palestine in 2011 after the Youtube premiere of a song about the Arab Spring that was called The Green Revolution. They include TootArd from the occupied Golan Heights and Walaa Sbeit from Haifa. Shadia Mansour, a well-known Palestinian-British rapper, is known as "The First Lady of Arab Hip Hop." Many of her songs are about the Palestinian cause.
Arabic Jazz.
Arabic jazz is characterized by the use of jazz instruments. Musicians such as Samir Suroor, an Egyptian saxophonist, pioneered the use of the saxophone in the "Oriental" estilo. The saxophone is used in the “oriental style” in certain songs by Abd al-Halim Hafez, as well as certain songs by Kazem al Saher and Rida al Abdallah today. The Lebanese Rahbani brothers were the first to incorporate elements of mainstream jazz into Arabic music. Fairuz’s later work consisted largely of jazz songs that were composed by her son, Ziad Rahbani. The latter was the pioneer of today's Oriental jazz movement, represented by singers such as Rima Khcheich (Lebanon), Salma El Mosfi (Lebanon), and Latifa (Tunisia). Egypt’s Mohamed Mounir's songs manifest much jazz influence, beginning with his first album, which was released in 1977.
Arabic Rock.
Numerous Arab rock bands have fused rock, metal, and alternative rock sounds with traditional Arabic instruments. Arabic rock has been attracting a great deal of attention lately in the Middle East. Arabic rock bands include Jadal and Akher Zapheer from Jordan, Mashrou’Leila and Meen from Lebanon, Massar Egbari, Sahara, Wyvern, and Cartoon Killerz from Egypt, Khalas and Chaos from Palestine, and Acrassicauda from Iraq. The band HobaHoba Spirit from Morocco is also becoming more and more popular. Rachid Taha from Oran, Algeria plays a fusion of rock and raИ‰. RaИ‰ music originated in Oran in the 1930’s. Regional, secular, and religious drumbeats, melodies, and instruments were fused with Western electronic instruments. RaИ‰ music has been influenced by American rap music. This music is popular with many young people in Algeria, but it is opposed by Islamic fundamentalists, who claim that it promotes un-Islamic values.
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