Difference between revisions of "Critique of "Arab music" history"
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* 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. | * 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. | * 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". | + | ** Marin Mersenne (1610), Benjamin 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. | * Colonialism: Concern with control, exploitation. More anthropological, ethnographic nuance. Egyptian music, etc. | ||
+ | |||
* Arab nahda, and rise of Arabism as linguistic community. | * Arab nahda, and rise of Arabism as linguistic community. | ||
+ | ** Arabism is always indebted to Europe for providing core ideas (self-determination, cultural expressive forms) | ||
** Muhammad Ali and Europeanization, following Napoleonic conquests. Establishment of European music schools, Opera House, in Egypt. | ** 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'') | ** Arabo-Islamic reform: move to restore Ottoman power. Oriental music concept. (''musiqa sharqiyya'') | ||
** Secular Arabism (Levantine Christians). Arab music concept (''musiqa Arabiyya'') | ** 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. | ** 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) | + | ** Development of "classical" turath (muwashshahat, dawr) along with Ottoman influence |
− | * | + | ** Rise of musical theater (European influence; Ahmad Abu Khalil al-Qabbani) (ca. 1884) |
− | * New print media catalyzed: al-Ahram from 1882, Jurji Zaydan and al-Hilal, literary history of the arabs | + | ** New print media catalyzed: al-Ahram from 1882, Jurji Zaydan and al-Hilal, literary history of the arabs |
− | + | ||
− | + | * End of WWI: demise of the Ottomans, way open for secular Arabism | |
− | + | ** 1920s and 30s: Arab nationalism: Sati al-Husri (Iraq) and Michel Aflaq (Syria) | |
− | + | ** New focus on music of the Arabs as opposed to the Ottomans | |
− | * End of WWI: demise of the Ottomans, way open for secular Arabism | + | * Gradual decline in "musiqa sharqiyya", rise in "musiqa arabiyya" |
− | * 1920s and 30s: Arab nationalism: Sati al-Husri (Iraq) and Michel Aflaq (Syria) | + | * 1932 conference on Arab music in Cairo, convened by King Fuad I. |
− | * 1932 conference on Arab music. | + | ** Irony: europeans favor tradition, Arabs tend to favor incor. of Euroepan modernism. |
− | * 1933: oriental music institute renamed the royal inst for arabic music | + | ** 1933: oriental music institute renamed the royal inst for arabic music |
− | * pan- | + | |
+ | * Effects of the media | ||
+ | ** Preserve vestiges of pre-mediated musics that developed in the 19th c with European influence (ironically: to become known as the "old heritage", turath qadim) | ||
+ | ** Disseminate for the first time a true pan-Arab music, while deleting much of the "authentic character" (as Touma would have it) of that music |
Revision as of 17:07, 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), Benjamin 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.
- Arabism is always indebted to Europe for providing core ideas (self-determination, cultural expressive forms)
- 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.
- Development of "classical" turath (muwashshahat, dawr) along with Ottoman influence
- Rise of musical theater (European influence; Ahmad Abu Khalil al-Qabbani) (ca. 1884)
- New print media catalyzed: al-Ahram from 1882, Jurji Zaydan and al-Hilal, literary history of the arabs
- End of WWI: demise of the Ottomans, way open for secular Arabism
- 1920s and 30s: Arab nationalism: Sati al-Husri (Iraq) and Michel Aflaq (Syria)
- New focus on music of the Arabs as opposed to the Ottomans
- Gradual decline in "musiqa sharqiyya", rise in "musiqa arabiyya"
- 1932 conference on Arab music in Cairo, convened by King Fuad I.
- Irony: europeans favor tradition, Arabs tend to favor incor. of Euroepan modernism.
- 1933: oriental music institute renamed the royal inst for arabic music
- Effects of the media
- Preserve vestiges of pre-mediated musics that developed in the 19th c with European influence (ironically: to become known as the "old heritage", turath qadim)
- Disseminate for the first time a true pan-Arab music, while deleting much of the "authentic character" (as Touma would have it) of that music