Difference between revisions of "MofA Weeks 7, 8: Music and Media"
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'''Modern urban tarab music of the 20th century (al-jadid): the transformation of the turath''' | '''Modern urban tarab music of the 20th century (al-jadid): the transformation of the turath''' | ||
| − | Transformative factors: | + | Transformative factors, and results: |
| − | * Musical commodification | + | * Musical commodification (concert halls, music media) and commercialism |
| − | * Rise of music media (phonograms, radio, musical film), | + | * Rise of music mass media (phonograms, radio, musical film) |
| − | * Increased Western influence (via media) | + | * Nationalist movements and independence (partly due to mass media, leading to government control, nationalist agendas, increased influence of Egyptian music, new concepts of "Arab music") |
| + | * Increased Western influence (via media): larger ensembles | ||
* Decline of the kuttab (trad. religious school) and rise of public schools | * Decline of the kuttab (trad. religious school) and rise of public schools | ||
| − | * Advent of formal musical training via music institutes and conservatories | + | * Rise of Islamist (political Islamic) groups, rejecting much of the aesthetic Islamic heritage, and especially secular music |
| + | * concert settings, notation, large ensembles, and mediated music: limit tarab by reducing performer flexibility and reducing performer/audience interactions | ||
| + | * Advent of formal musical training via music institutes and conservatories: standardization, reduction in reliance on the ear and improvisation. | ||
| + | * Urbanization: much larger populations to support commercial music-making | ||
| + | * Cairo becomes the primary center, drawing talent from the Arab world, and exporting music and music films everywhere | ||
| + | * Presence of foreign soldiers (patronizing nightclubs) | ||
| + | * Feminism: appearance of female singer in public, women owners of nightclubs and cabarets. Women's increased role in the performing arts: as singers, dancers, actresses (but not as instrumentalists). | ||
| + | * Increased centrality of conductors, composers and arrangers. Singers become merely singers, or blend into an anonymous chorus.* shorter songs (for phonograms and films) | ||
| + | * longer songs (for mid-20th century tarab tradition): the ughniya (song) of Umm Kulthum and others, representing rise of the composer; often featuring lengthy instrumental sections | ||
| + | * Rise of musical stardom, visual music; increased emphasis on physical appearance | ||
| + | * Decline in traditional tarab and traditional repertoire | ||
| + | * Bifurcation: separation of religious and secular musics | ||
Revision as of 08:21, 27 February 2008
Modern urban tarab music of the 20th century (al-jadid): the transformation of the turath
Transformative factors, and results:
- Musical commodification (concert halls, music media) and commercialism
- Rise of music mass media (phonograms, radio, musical film)
- Nationalist movements and independence (partly due to mass media, leading to government control, nationalist agendas, increased influence of Egyptian music, new concepts of "Arab music")
- Increased Western influence (via media): larger ensembles
- Decline of the kuttab (trad. religious school) and rise of public schools
- Rise of Islamist (political Islamic) groups, rejecting much of the aesthetic Islamic heritage, and especially secular music
- concert settings, notation, large ensembles, and mediated music: limit tarab by reducing performer flexibility and reducing performer/audience interactions
- Advent of formal musical training via music institutes and conservatories: standardization, reduction in reliance on the ear and improvisation.
- Urbanization: much larger populations to support commercial music-making
- Cairo becomes the primary center, drawing talent from the Arab world, and exporting music and music films everywhere
- Presence of foreign soldiers (patronizing nightclubs)
- Feminism: appearance of female singer in public, women owners of nightclubs and cabarets. Women's increased role in the performing arts: as singers, dancers, actresses (but not as instrumentalists).
- Increased centrality of conductors, composers and arrangers. Singers become merely singers, or blend into an anonymous chorus.* shorter songs (for phonograms and films)
- longer songs (for mid-20th century tarab tradition): the ughniya (song) of Umm Kulthum and others, representing rise of the composer; often featuring lengthy instrumental sections
- Rise of musical stardom, visual music; increased emphasis on physical appearance
- Decline in traditional tarab and traditional repertoire
- Bifurcation: separation of religious and secular musics
