|
|
| Line 3: |
Line 3: |
| | Notes by Michael Frishkopf. | | Notes by Michael Frishkopf. |
| | | | |
| | + | [[Qur'anic recitation (tilawa)]] |
| | + | |
| | + | [[Call to prayer (adhan)]] |
| | | | |
| | [[The dawn prayer rite (salat al-fajr)]] | | [[The dawn prayer rite (salat al-fajr)]] |
| − |
| |
| − | [[Qur'anic recitation (tilawa)]]
| |
| | | | |
| | [[Inshad dini]] | | [[Inshad dini]] |
| | | | |
| − | | + | [[Inshad sufi]] |
| − | | |
| − | | |
| − | ----
| |
| − | | |
| − | ''Sufi performance''
| |
| − | | |
| − | | |
| − | * [http://www.fwalive.ualberta.ca/~michaelf/MR/Chanting%20devotion/Islamic/Cue%2010.mp3 Sufi dhikr with inshad]. Recorded during the 1932 Arabic music conference by the celebrated Laythi
| |
| − | order (Egyptian), led by Shaykh Basatini. The dhikr consists of chanting the Names of God (here,
| |
| − | “Allah”); inshad (singing of religious poetry) is often superimposed, either solo or group. Early recordings
| |
| − | such as these are not field recordings, but took place in studio-like conditions, and under limitations of
| |
| − | length (due to the length of a phonograph disc).
| |
| − | | |
| − | * [http://www.fwalive.ualberta.ca/~michaelf/MR/Chanting%20devotion/Islamic/Cue%2011.mp3 Sufi dhikr with inshad]. Field recording made in 1998 of a contemporary Egyptian Sufi order, the
| |
| − | Hamidiyya Shadhiliyya. The group chants “Allah” while a soloist and chorus performs inshad. Note how
| |
| − | emotional power is generated by inshad, and how it is timed to move with dhikr. The Sufi orders tend not
| |
| − | to use instruments.
| |
| − | | |
| − | * [http://www.fwalive.ualberta.ca/~michaelf/MR/Chanting%20devotion/Islamic/Cue%2012.mp3 Ad‘iyya (prayers of request) following Ramadan tarawih prayers]. Performed by Shaykh Muhammad Jabril. During Ramadan
| |
| − | lengthy ad‘iyya are performed at the conclusion of the late-night tarawih prayers. These are particularly
| |
| − | important during the last 10 nights, since one of these is the “laylat al-qadr” or “night of power”, during
| |
| − | which channels between heaven and earth are open. Shaykh Muhammad Jabril has become the most
| |
| − | famous reciter of this type. The style is similar to that of the morning prayer, but with much greater
| |
| − | emotional intensity and buildup, partly due to the size of the congregation (exceeding 50,000). This is a
| |
| − | recent phenomenon due to the rise of interest in religion, together with technical innovations such as the
| |
| − | amplifier, allowing the voice to be projected over an expansive area.
| |
| − | | |
| − | * [http://www.fwalive.ualberta.ca/~michaelf/MR/Chanting%20devotion/Islamic/Cue%2013.mp3 Orchestral inshad (religious song)]. Performed by Shaykh Sayyid al-Naqshabandi with chorus and
| |
| − | orchestra. Here is an example of transformation of the older ibtihalat and tawashih traditions. Shaykh
| |
| − | Naqshabandi became famous through media appearances. Formerly he performed in the traditional vocal
| |
| − | style, which was later augmented with orchestra and fixed arrangements. Note the focus on nay (reed
| |
| − | flute), whose sound is a symbol of Islamic mysticism and contemplation, as well as the duff (frame drum),
| |
| − | which is specially sanctioned by Prophetic traditions in Islamic music.
| |
| − | | |
| − | * [http://www.fwalive.ualberta.ca/~michaelf/MR/Chanting%20devotion/Islamic/Cue%2014.mp3 Aghani diniyya] (religious songs performed by ordinary singers=mutribin). Performed by ‘Abd al-Halim
| |
| − | Hafez. ‘Abd al-Halim was Egypt’s Elvis, an extremely popular singer of romantic songs; he did not train
| |
| − | in the religious tradition and has no status as “shaykh”. However during religious holidays he might sing
| |
| − | religious material; this tape is an example. It cannot be considered pure inshad dini, since the context,
| |
| − | style, and performer do not certify the performance as a true devotional act. The nay is used to mark the
| |
| − | performance as religious, and the mood is subdued, with little meter; but vocal style is similar to ‘Abd al-
| |
| − | Halim’s standard popular fare.
| |
| − | | |
| − | * [http://www.fwalive.ualberta.ca/~michaelf/MR/Chanting%20devotion/Islamic/Cue%2015.mp3 Sufi inshad in the public hadra]. Performed by Shaykh Yasin al-Tuhami, from Assiut, in Upper Egypt; live performance
| |
| − | from Mahalla, in the Egyptian Delta. Over the last 20 years Sufi munshidin have started to emerge as
| |
| − | major singing stars, recorded on commercial tapes and singing professionally in a wide variety of social
| |
| − | settings. The most famous of these is Shaykh Yasin al-Tuhami. He typically performs with a small takht
| |
| − | (here including violin, kawala (another reed flute), and percussion), draws heavily on secular music
| |
| − | (especially Umm Kulthum) for melodic material, instrumentation, and style, while performing classical
| |
| − | Sufi poetry in a Sufi setting. Performance includes development of maqamat, taqasim, vocal
| |
| − | improvisation, lawazim (melodic fills), qafla and many other features of the tarab style. As for Shaykh
| |
| − | Muhammad Jabril, the advent of the PA system was important to the development of this genre of
| |
| − | performance. Melodic material is improvised, but draws on standard phrases. His performances are
| |
| − | generally attended by hundreds or even thousands (especially in the larger saint festivals, called mawlids);
| |
| − | some listen, while others form lines in order to perform the dhikr while listening to his performance (you
| |
| − | can hear the chantin this recording), and generate a powerful ecstatic mood. Here he sings a poem of the
| |
| − | great 13th c mystical poet Ibn al-Farid, in his 18th commercial tape, of which there are approximately 30
| |
| − | total, nearly all recorded in the field. [http://www.youtube.com/watch?v=VG-K6W8ZadM Video example]
| |
