Difference between revisions of "Music and the Islam factor"
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** Courtesan tradition: the qayna | ** Courtesan tradition: the qayna | ||
* Expansion: powered by Islamic ideology | * Expansion: powered by Islamic ideology | ||
− | * | + | * Inward flow towards center: assimilation, cultural fusion via openness to learning and multiculturalism (especially Persian arts and sciences) |
− | * | + | ** Accumulation of financial capital |
− | * Accumulation of financial capital | + | *** Opulent courts (Madina, Damascus, Baghdad, Cordoba, Granada...) |
− | ** Opulent courts (Madina, Damascus, Baghdad, Cordoba, Granada...) | + | *** Development of leisure class |
− | ** Development of leisure class | + | *** Patronage of music and singing |
− | ** Patronage of music and singing | + | *** Professional class of musicians |
− | ** Professional class of musicians | + | ** Accumulation of intellectual/artistic capital |
− | * Accumulation of intellectual/artistic capital | + | *** Bayt al-Hikma |
− | ** Bayt al-Hikma | + | *** Music theory as philosophy |
− | ** Music theory as philosophy | + | *** Development of musical arts |
− | ** Development of musical arts | + | * Outward flow from center: cultural diffusion, as Islam provides political/cultural/linguistic/religious "lingua franca" |
+ | * Fragmentation of Islamic empire in 10th c, corresponding fission in Islamicate forms, which nevertheless remained linked | ||
+ | * Core and periphery model | ||
+ | ** Core features: linguistic and tonal (maqam phenomenon) | ||
+ | ** Periphery features: timbral (vocal qualities, instrumental resources) | ||
* Islamic content | * Islamic content | ||
** Rituals | ** Rituals |
Revision as of 12:31, 27 September 2007
Islamic influence upon Islamicate music
- Source: pre-Islamic Arabian features that remained at core of Islamic culture
- Centrality of Arabic language and verbal arts, especially poetry
- Linguistic form: the qasida (monorhyme, monometer)
- Genres of love (nasib), praise (madih), description, satire (hija')
- Courtesan tradition: the qayna
- Expansion: powered by Islamic ideology
- Inward flow towards center: assimilation, cultural fusion via openness to learning and multiculturalism (especially Persian arts and sciences)
- Accumulation of financial capital
- Opulent courts (Madina, Damascus, Baghdad, Cordoba, Granada...)
- Development of leisure class
- Patronage of music and singing
- Professional class of musicians
- Accumulation of intellectual/artistic capital
- Bayt al-Hikma
- Music theory as philosophy
- Development of musical arts
- Accumulation of financial capital
- Outward flow from center: cultural diffusion, as Islam provides political/cultural/linguistic/religious "lingua franca"
- Fragmentation of Islamic empire in 10th c, corresponding fission in Islamicate forms, which nevertheless remained linked
- Core and periphery model
- Core features: linguistic and tonal (maqam phenomenon)
- Periphery features: timbral (vocal qualities, instrumental resources)
- Islamic content
- Rituals
- Language-centrality
- Ethical conditions - Sharia: discourse and controversy over music, music terms
- Qur'an
- Sunna (Hadith)
- Mystical currents (Sufism)
- "tazkiyat al-nafs, tarqiyat al-ruh" (taming the self; raising the spirit or soul)
- Batin > Zahir (Haqiqa > Sharia) (flexibility)
- Experiential relation to God
- Absorption of local traditions
- Aesthetic as means to spirituality, expression of spirituality
- Use of music/poetry to express/attain spiritual state (ecstasy, union, annihilation...)