Difference between revisions of "Music and the Islam factor"
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| − | '''Islamic influence upon Islamicate music''' | + | '''Islamic influence upon Islamicate music''' is multidimensional and complex... |
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| + | [[Islamic sources and Islamicate music]] | ||
* Source: pre-Islamic Arabian features that remained at core of Islamic culture | * Source: pre-Islamic Arabian features that remained at core of Islamic culture | ||
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** Genres of love (nasib), praise (madih), description, satire (hija') | ** Genres of love (nasib), praise (madih), description, satire (hija') | ||
** Courtesan tradition: the qayna | ** Courtesan tradition: the qayna | ||
| − | * Expansion: powered by Islamic ideology | + | |
| + | [[Islamic expansion and Islamicate music]] | ||
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| + | * Expansion: powered by Islamic ideology, and weakness of prevailing powers at the time (Sassanian and Byzantine) | ||
* Inward flow towards center: assimilation, cultural fusion via openness to learning and multiculturalism (especially Persian arts and sciences) | * 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 | ||
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* Outward flow from center: cultural diffusion, as Islam provides political/cultural/linguistic/religious "lingua franca" | * 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 | * Fragmentation of Islamic empire in 10th c, corresponding fission in Islamicate forms, which nevertheless remained linked | ||
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| + | [[Core and periphery in Islamicate music]] | ||
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* Core and periphery model | * Core and periphery model | ||
** Core features: recurrence of organic musical style, linguistic and tonal (maqam phenomenon) | ** Core features: recurrence of organic musical style, linguistic and tonal (maqam phenomenon) | ||
** Periphery features: recurrence of musical traits, mainly timbral (vocal qualities, instrumental resources) | ** Periphery features: recurrence of musical traits, mainly timbral (vocal qualities, instrumental resources) | ||
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| − | + | [[Islamic content and Islamicate music]] | |
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Revision as of 12:37, 27 September 2007
Islamic influence upon Islamicate music is multidimensional and complex...
Islamic sources and 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
Islamic expansion and Islamicate music
- Expansion: powered by Islamic ideology, and weakness of prevailing powers at the time (Sassanian and Byzantine)
- 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 in Islamicate music
- Core and periphery model
- Core features: recurrence of organic musical style, linguistic and tonal (maqam phenomenon)
- Periphery features: recurrence of musical traits, mainly timbral (vocal qualities, instrumental resources)
