Difference between revisions of "Islamic performance genres"
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| − | '''Islamic vocal performance traditions of Egypt | + | '''Islamic vocal performance traditions of Egypt''' |
| − | Tilawa, ibtihalat, adhan, ad`iyya, tawashih, dhikr, aghani diniyya, inshad dini, inshad sufi | + | ''Tilawa, ibtihalat, adhan, ad`iyya, tawashih, dhikr, aghani diniyya, inshad dini, inshad sufi'' |
''Michael Frishkopf'' | ''Michael Frishkopf'' | ||
| − | 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: | + | Note that the semantic scope of each of these words is different, and (except for 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 | + | * musiqa: (a) theoretical-philosophical tradition (historical definition), or (b) melodic instrumental music, possibly combined with vocals (contemporary definition). |
* ghina': singing (for entertainment or aesthetic pleasure) | * ghina': singing (for entertainment or aesthetic pleasure) | ||
| − | Nevertheless, the religious genres almost always | + | Nevertheless, the religious genres almost always center on a sophisticated use of the maqamat. |
Not only that, but <br> | Not only that, but <br> | ||
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...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). | ...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). | ||
| + | |||
| + | Metered singing appears in corporate inshad dini (primarily in the Sufi orders, as a technique for the liturgical unification of the group), and in some religious songs (aghani diniyya) straddling the boundary of "singing" and "religion". | ||
[[Qur'anic recitation (tilawa)]] | [[Qur'anic recitation (tilawa)]] | ||
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[[Inshad sufi]] | [[Inshad sufi]] | ||
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| + | [http://www.youtube.com/watch?v=Nlc7BYgcWBk Laglinnabi] by Muhammad al-Kahlawi (Aghani Diniyya) | ||
Revision as of 08:27, 7 October 2010
Islamic vocal performance traditions of Egypt
Tilawa, ibtihalat, adhan, ad`iyya, tawashih, dhikr, aghani diniyya, inshad dini, inshad sufi
Michael Frishkopf
Note that the semantic scope of each of these words is different, and (except for aghani diniyya) none of them overlaps with either musiqa or ghina' - indeed to imply an overlap is somehow sacrilegious:
- musiqa: (a) theoretical-philosophical tradition (historical definition), or (b) melodic instrumental music, possibly combined with vocals (contemporary definition).
- ghina': singing (for entertainment or aesthetic pleasure)
Nevertheless, the religious genres almost always center on a sophisticated use of 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).
Metered singing appears in corporate inshad dini (primarily in the Sufi orders, as a technique for the liturgical unification of the group), and in some religious songs (aghani diniyya) straddling the boundary of "singing" and "religion".
Supplications in prayer (ad`iyya)
The dawn prayer rite (salat al-fajr)
Laglinnabi by Muhammad al-Kahlawi (Aghani Diniyya)
