Iraqi maqam

Iraqi Maqam cycle: al-maqam al-`iraqi

Note that the Iraqi maqam - referring both to a tonal structure and an entire genre of music-- is a broader concept than the Egypto-Levantine concept of maqam. The latter is a modal concept, whereas the former goes beyond mode to encompass a performance genre centered on a tonal structure but encompassing a compound form (fasl), analogous to the wasla of Egypt and Levant, and comprising a sequence of pieces in different, related, maqamat. At its center is a sung poem.

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 maqam musicians emigrated to Israel. Most famous performer of 20th c: Muhammad al-Qabanji (attended 1932 Arab music conference)

Singer: qari’ al-maqam, sometimes supported by one or more supporting singers called pastaji (bastaji), who performed the "pasta" or "basta", a light metric song between one maqam and the next, while the qari' rested. Note that the word qari' is also applied to Qur'an reciters, and thus connotes great respect as well as implying authenticity (asala) through connection to the sacred genre of tilawa.

Instrumental ensemble. al-Tchalghi al-Baghdadi (Jalghi baghdadi). Comprised of joza (fiddle), santur (hammer dulcimer), tabla or dombek (goblet shaped drum), riqq or daff al-zanjari (frame drum). Note Persian musical influence here.

Poetry: classical monorhyme "qasida" (in elevated Arabic, or "fus-ha"), or colloquial Iraqi poem (called: "zuhayri" or "`abudhiyya").

Form

Fasl (plural: fusul): sequence of maqams, named after 1st. There are five fusul: bayat, hijaz, rast, nawa, husayni. Each fasl comprises a particular sequence of 5-7 maqamat, and lasts several hours. (Note that the Ottoman suite form is called fasil.)

Each maqam performance comprises the following sections:

1. Muqaddima (instrumental intro)
2. Tahrir: vocal introduction with no text but only vocables (akh-khayya, yar yar, aman), like layali - stock phrases in Arabic, Persian, Turkish, Kurdish, Hebrew. This section establishes the maqam's tonal and emotional content, and allows the qari' to display vocal mastery. This section concludes with improvisatory dialog between vocalist and instruments (muhasaba), raising the tonal level, and closing with taslim, descending to the lower tonic. [Sometimes a fixed vocal piece called badwa takes the place of the tahrir.]
3. Maqam sequence: presented incrementally, with poetry, whether classical (qasida) or folk (`abudhiyya). Each maqam implies temporal as well as tonal materials: may require particular rhythmic cycles (some are metered, others aren’t). Highest section is called miyana. Singer improvises. Concludes with taslim.
4. Basta: postlude, metered. Precedes next maqam in sequence.

Listen to Maqam Humayoun, performed by the Ensemble al-Tchâlghî Al-Baghdâdî, featuring solo singer Hussein al-A`dhami with the following form:

(a) Muqaddimat Hijaz, metric intro; (b) taqsim: santur; (c) Maqam Humayoun, in free rhythm. Poem by Abbas ibn al-Ahnaf (d. 807), friend of Caliph Harun al-Rashid, who evokes suffering of lovers' separation; (d) Peste, "He hasn't come for 2 days" (song)

Listen to Touma's example: 01 Al-Maqam Al-Iraqi _ Maqam Urfah and a Bastah

other links:

• video 1video 2
• blog on Iraqi maqam