Difference between revisions of "Islamic performance genres"
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* ghina': singing (for entertainment or aesthetic pleasure) | * ghina': singing (for entertainment or aesthetic pleasure) | ||
| − | Nevertheless, the religious genres almost always draw on the maqamat, and performance | + | Nevertheless, the religious genres almost always draw on the maqamat. |
| + | |||
| + | Not only that, but <br> | ||
| + | (a) because religious genres center on solo vocal performance (highlighting the text), often ametric, and <br> | ||
| + | (b) because there is a preference for spontaneous expression of emotion in reaction to spiritual texts and contexts, and | ||
| + | <br> | ||
| + | (c) because in the case of the Qur'an there is also an aversion to any melodic composition, which could be considered an "association" (shirk) with God), therefore... | ||
| + | |||
| + | ...vocal performance tends to feature melodic flexibility (~improvisation), developing the maqamat, and audience responses reminiscent of secular ''tarab'' (though that word may be rejected in favor of something more spiritual, e.g. nashwa ruhiyya, spiritual refreshment, or wajd, spiritual ecstasy). | ||
[[Qur'anic recitation (tilawa)]] | [[Qur'anic recitation (tilawa)]] | ||
Revision as of 08:16, 7 October 2010
Islamic vocal performance traditions of Egypt:
Tilawa, ibtihalat, adhan, ad`iyya, tawashih, dhikr, aghani diniyya, inshad dini, inshad sufi
Note that the semantic scope of each of these words is different, and except aghani diniyya none of them overlaps with either musiqa or ghina' - indeed to imply an overlap is somehow sacrilegious:
- musiqa: (a) theoretical-philosophical tradition, or (b) melodic instrumental music (possibly combined with vocals).
- ghina': singing (for entertainment or aesthetic pleasure)
Nevertheless, the religious genres almost always draw on the maqamat.
Not only that, but
(a) because religious genres center on solo vocal performance (highlighting the text), often ametric, and
(b) because there is a preference for spontaneous expression of emotion in reaction to spiritual texts and contexts, and
(c) because in the case of the Qur'an there is also an aversion to any melodic composition, which could be considered an "association" (shirk) with God), therefore...
...vocal performance tends to feature melodic flexibility (~improvisation), developing the maqamat, and audience responses reminiscent of secular tarab (though that word may be rejected in favor of something more spiritual, e.g. nashwa ruhiyya, spiritual refreshment, or wajd, spiritual ecstasy).
Supplications in prayer (ad`iyya)
