http://worldcat.org/entity/work/id/1200345

Arab music theory in the modern period

The dissertation is a critical review of modern Arab modal theory as presented i n written sources, as taught in present-day Cairo, and as conceptualized by cont emporary performers. The temporal focus of the study, the 'modern period, ' exten ds roughly from the mid-eighteenth century to the present day. The geographic fo cus is the eastern Mediterranean region ranging from Egypt to Syria and Lebanon. The first chapter introduces the modern period giving special attention to the changing position of music and music theory in Arab culture. It also introduces the main Arabic-language sources. The remainder of the dissertation is divided i nto four parts dealing with notes, tetrachords, modes, and modulation, respectiv ely. Part one considers the notes as they are conceptualized in the indigenous s ystem of Arabic/Persian note names, discusses the introduction of Western solfeg e and Western notation into Middle Eastern music culture, and analyzes concepts of tuning and intonation held by modern-period theorists and present-day perform ers. Part Two discusses melodic intervals and modern tetrachordal theory. Part T hree analyzes a number of important issues concerning the musical modes (the maq amat, s. maqam) including their number and classification. The essential element s that contribute to the definition of the individual modes are discussed in tur n in a multisectioned chapter ten; e.g., tonic, ambitus, starting notes, etc. Pa rt Four examines the role of and the rules governing modulation in contemporary practice. Within each chapter, discussions are organized chronologically, beginn ing with concepts that existed in the late-eighteenth, early-nineteenth centurie s and ending with those that exist today. A concluding chapter views aspects of music theory from a cross-cultural perspective. While the quarter-tone scale has provided an important element of continuity throughout the modern period, it is found that the concept of mode has changed drastically over the same period. Th is and other changes in the music theory occurred in response to a variety of so cial, cultural, and musical forces. In view of these changes, the modern period is best divided into three subperiods (early, middle, and present-day).

Open All Close All