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:
- Instrumental intro
- 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.]
- Maqam: presented incrementally, with poetry. Some are metered, others aren’t. Highest section is called miyana. Singer improvises. Concludes with taslim
- Bastah: postlude, metered. Precedes next maqam in sequence.
Listen to Maqam Humayoun
