Iraqi maqam

Iraqi Maqam cycle: al-maqam al-`iraqi

General points. Urban tradition of Baghdad, Mosul, Kirkuk. Oral tradition over 400 years; more recently taught in conservatories. Features Persian and Ottoman influences. Many important Jewish musicians emigrated to Israel. Most famous performer of 20th c: Muhammad al-Qabanji (attended 1932 conference)

Singer: qari’ al-maqam, sometimes supported by the pastaji chorus.

Instrumental ensemble. al-Tchalghi al-Baghdadi. Comprised of joza (fiddle), santur (hammer dulcimer), tabla or dombek, deff. Note Persian musical influence here.

Poetry: classical qasida, or colloquial Iraqi (zuhayri).

Form

Fasl (plural: fusul): sequence of maqams, named after 1st. There are five fusul: bayat, hijaz, rast, nawa, husayni. Each fasl lasts several hours. N(ote that the Ottoman suite form is called fasil.)

Each maqam comprises the following sections:

1. Instrumental intro
2. Tahrir: vocal like layali, establishes the maqam, using stock phrases in Arabic, Persian, Turkish, Kurdish, Hebrew. Concludes with dialog between vocalist and instruments (muhasaba), closes with taslim. [Sometimes a vocal piece called badwa takes the place of the tahrir.]
3. Maqam: presented incrementally, with poetry. Some are metered, others aren’t. Highest section is called miyana. Singer improvises. Concludes with taslim
4. Bastah: postlude, metered. Precedes next maqam in sequence.

Listen to Maqam Humayoun