Difference between revisions of "Examples of Islamicate music"
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| − | These musical forms | + | These musical forms drew upon Islamic (especially Sufi) performance (vocal timbre, pronunciation, interactive performance dynamics) and meanings (love, unity), and were shaped by Islamic institutions (kuttab, legal rulings), but were also absorbed into Islamic language performance. |
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| + | At times it is difficult to determine the boundaries of "Islamic" and "Islamicate" sounds. Always Islam provides the spiritual, ethical, legal, and societal underpinnings for a civilization hospitable to the development of ''particular'' forms of music and singing (while condemning others). The Islamicate as a whole (values, institutions, social relations)--informed by Islam (including its sounds)--shapes music in these regions; that music in turn shapes the sounds of Islam. | ||
* Egypt's [https://www.youtube.com/watch?v=pjziPpZG_cw Umm Kulthum]. Trained in tajwid at the kuttab (Qur'anic school), munshidin like Shaykh Yasin often draw upon her melodies as more spiritual than other secular music. | * Egypt's [https://www.youtube.com/watch?v=pjziPpZG_cw Umm Kulthum]. Trained in tajwid at the kuttab (Qur'anic school), munshidin like Shaykh Yasin often draw upon her melodies as more spiritual than other secular music. | ||
Revision as of 13:03, 1 February 2024
These musical forms drew upon Islamic (especially Sufi) performance (vocal timbre, pronunciation, interactive performance dynamics) and meanings (love, unity), and were shaped by Islamic institutions (kuttab, legal rulings), but were also absorbed into Islamic language performance.
At times it is difficult to determine the boundaries of "Islamic" and "Islamicate" sounds. Always Islam provides the spiritual, ethical, legal, and societal underpinnings for a civilization hospitable to the development of particular forms of music and singing (while condemning others). The Islamicate as a whole (values, institutions, social relations)--informed by Islam (including its sounds)--shapes music in these regions; that music in turn shapes the sounds of Islam.
- Egypt's Umm Kulthum. Trained in tajwid at the kuttab (Qur'anic school), munshidin like Shaykh Yasin often draw upon her melodies as more spiritual than other secular music.
- Sabah Fakhri (b. 1933), the greatest modern exponent of the pre-mediated Islamicate Arab style of "tarab" in Syria. Note tarab interactions - not unlike those of Shaykh Mustafa Ismaʿīl
- Turkish FasilMusic of Selim III, 1761 – 1808, Sultan of the Ottoman Empire from 1789 to 1807.[1].
- Khayal[2] style of Hindustani classical music.
- Javanese gamelan
- Persian dastgah, performed on solo kemenche by Kayhan Kalhor
- Moroccan nawba
- Plucked Lutes in West Africa: An Historical Overview, by Eric Charry (The Galpin Society Journal Vol. 49 (Mar., 1996), pp. 3-37)
- Xalam (Wolof - Senegal), Ngoni (Bambara - Mali/Guinea)
- Xalam video, Ngoni video
- Kologo, [3] (King Ayisoba)
- Bamaya northern Ghanaian traditional drumming, from the Dagomba people.
- Hausa traditional music (northern Nigeria, near Zaria)
Compare the above to Sufi performance from various places, and the category of Inshad Sufi.
