Difference between revisions of "Critique of "Arab music" history"

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* Touma's tends to project  contemporary Arab nationalism into the past)
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* Touma tends to read contemporary Arab nationalism and ethnic identity into the past
−
* My reading of "Arab music":
 
  
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** Arab self-consciousness rises with Islam.
+
My reading of "Arab music": some points
−
** So does multiculturalism, esp. Persian influence.  
+
* Early period
−
** Irony: concept of al-ghina' al-`arabi arises with Persian influence
+
** Label "Arab" was first applied by outsiders
−
** True "Arab" music is pre-Islamic (Beduin ethos)
+
** Arab self-consciousness rises with Islam; first use of "Arab singing" via new consciousness
−
** Islam tended to reject the non-Arab
+
** But so does multiculturalism, esp. Persian influence.  
 +
** Irony: concept of al-ghina' al-`arabi (Arab singing) arises with injection of Persian influence
 +
** Later, true "Arab" music is pre-Islamic inshad (Beduin ethos)
 +
** Islam tended to reject the non-Arab during this period
 +
 
 +
* Abbasid multiculturalism
 
** Abbasid period was less Arab, more Persian
 
** Abbasid period was less Arab, more Persian
−
** Rise of musta`riba (Arabized) class.
+
** Expansion of musta`riba (Arabized) class.  
−
** Ethnicity is ambiguous. Islamization, Arabization vs. lineage and region.
+
** Intermarriage
−
** Is Abbasid culture really Arab? Multiculturalism, on an more equal footing.
+
** Ethnicity and identity become ambiguous: Islam, Arabic language, lineage, family, region.
 
** Ambiguous ethnicity (e.g. al-Farabi himself)
 
** Ambiguous ethnicity (e.g. al-Farabi himself)
 
** Universalism in treatises (e.g. al-Farabi)
 
** Universalism in treatises (e.g. al-Farabi)
−
** Andalusia: likewise multicultural.
+
** "Arab singing" tends to mean Beduin.  
−
** "Arab singing" tends to mean Beduin.
+
** Is Abbasid culture really Arab?
 
** Later Abbasid period:  Persian and Arabic singing share a single musical tonal system.  
 
** Later Abbasid period:  Persian and Arabic singing share a single musical tonal system.  
−
** Eclipse (1258-1800).  Ibn Khaldun:  "Arab" is pejorative, or primitive culture.
+
 
 +
* Andalusian multiculturalism
 +
 +
* Eclipse (1258-1800), inhitat, refers to Arabic literature.  But much culture remained alive (e.g. architecture). Ibn Khaldun:  "Arab" is pejorative, or primitive culture. Arabs are a kind of noble savage.
 +
* Orientalism and philology. Enlightenment discovery of the world. Tended to define "peoples" according to their language.  "Arabs", "Arab music" appear. Concern to connect Europe to ancient Greece via the Arabs.
 +
** Marin Mersenne (1610), de Laborde (1780): connecting music of Helenistic world to that of Europe via "Arabs".
 +
* Colonialism: Concern with control, exploitation. More anthropological, ethnographic nuance. Egyptian music, etc.
 +
* Arab nahda, and rise of Arabism as linguistic community.
 +
** Muhammad Ali and Europeanization, following Napoleonic conquests.  Establishment of European music schools, Opera House, in Egypt.
 +
** Arabo-Islamic reform:  move to restore Ottoman power.  Oriental music concept. (''musiqa sharqiyya'')
 +
** Secular Arabism (Levantine Christians). Arab music concept (''musiqa Arabiyya'')
 +
** New  patronage of great singers performing in Arabic (e.g. by Khedive Ismail), even if patrons were non-Arabs.
 +
** Rise of musical theater (European influence; Qabbani) in 19th c
 +
* Nahda: rise of Arab feeling, cross-fertizlied by euro nationalism.
 +
* New print media catalyzed:  al-Ahram from 1882, Jurji Zaydan and al-Hilal, literary history of the arabs 
 +
* Arabism:  Mashaqa, Shiyaq
 +
* Opera House in Cairo
 +
* struggle against outside powers (Ottoman, European)
 +
* Arabism is always indebted to Europe for providing core ideas (self-det, cultural expressive forms)
 +
* End of WWI:  demise of the Ottomans, way open for secular Arabism and pan_islamism.
 +
* 1920s and 30s:  Arab nationalism:  Sati al-Husri (Iraq) and Michel Aflaq (Syria)
 +
* 1932 conference on Arab music.  Rise of Arab music concept.  Irony:  europeans favor tradition, Arabs tend to favor incor. of Euroepan modernism.
 +
* 1933:  oriental music institute renamed the royal inst for arabic music
 +
* pan-arabism of nasser

Revision as of 16:58, 15 January 2008

  • Touma tends to read contemporary Arab nationalism and ethnic identity into the past

My reading of "Arab music": some points

  • Early period
    • Label "Arab" was first applied by outsiders
    • Arab self-consciousness rises with Islam; first use of "Arab singing" via new consciousness
    • But so does multiculturalism, esp. Persian influence.
    • Irony: concept of al-ghina' al-`arabi (Arab singing) arises with injection of Persian influence
    • Later, true "Arab" music is pre-Islamic inshad (Beduin ethos)
    • Islam tended to reject the non-Arab during this period
  • Abbasid multiculturalism
    • Abbasid period was less Arab, more Persian
    • Expansion of musta`riba (Arabized) class.
    • Intermarriage
    • Ethnicity and identity become ambiguous: Islam, Arabic language, lineage, family, region.
    • Ambiguous ethnicity (e.g. al-Farabi himself)
    • Universalism in treatises (e.g. al-Farabi)
    • "Arab singing" tends to mean Beduin.
    • Is Abbasid culture really Arab?
    • Later Abbasid period: Persian and Arabic singing share a single musical tonal system.
  • Andalusian multiculturalism
  • Eclipse (1258-1800), inhitat, refers to Arabic literature. But much culture remained alive (e.g. architecture). Ibn Khaldun: "Arab" is pejorative, or primitive culture. Arabs are a kind of noble savage.
  • Orientalism and philology. Enlightenment discovery of the world. Tended to define "peoples" according to their language. "Arabs", "Arab music" appear. Concern to connect Europe to ancient Greece via the Arabs.
    • Marin Mersenne (1610), de Laborde (1780): connecting music of Helenistic world to that of Europe via "Arabs".
  • Colonialism: Concern with control, exploitation. More anthropological, ethnographic nuance. Egyptian music, etc.
  • Arab nahda, and rise of Arabism as linguistic community.
    • Muhammad Ali and Europeanization, following Napoleonic conquests. Establishment of European music schools, Opera House, in Egypt.
    • Arabo-Islamic reform: move to restore Ottoman power. Oriental music concept. (musiqa sharqiyya)
    • Secular Arabism (Levantine Christians). Arab music concept (musiqa Arabiyya)
    • New patronage of great singers performing in Arabic (e.g. by Khedive Ismail), even if patrons were non-Arabs.
    • Rise of musical theater (European influence; Qabbani) in 19th c
  • Nahda: rise of Arab feeling, cross-fertizlied by euro nationalism.
  • New print media catalyzed: al-Ahram from 1882, Jurji Zaydan and al-Hilal, literary history of the arabs
  • Arabism: Mashaqa, Shiyaq
  • Opera House in Cairo
  • struggle against outside powers (Ottoman, European)
  • Arabism is always indebted to Europe for providing core ideas (self-det, cultural expressive forms)
  • End of WWI: demise of the Ottomans, way open for secular Arabism and pan_islamism.
  • 1920s and 30s: Arab nationalism: Sati al-Husri (Iraq) and Michel Aflaq (Syria)
  • 1932 conference on Arab music. Rise of Arab music concept. Irony: europeans favor tradition, Arabs tend to favor incor. of Euroepan modernism.
  • 1933: oriental music institute renamed the royal inst for arabic music
  • pan-arabism of nasser
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