• Middle Eastern Music

Middle Eastern Music
Introduction, Instruments, and FAQs
Introduction
ScalesThe Basic Building Block
Middle Eastern music is based on the maqam system. A maqam roughly corresponds to a
Western musical scale. For example, where an American musician might perform
Pachelbel’s Canon in D (a canona classical formplayed in the key of D major), a
Middle Eastern musician might perform the Samai Kurd Shaheen. (A samaia classical
form played in the maqam known as Kurd and composed by Simon Shaheen.) A
composition can begin in a certain maqam, then shift to others during the course of the
song. There are at least 24 distinct maqamat, developed over thousands of years of
musical history.
A maqam tells a musician what the correct intervals are between the notes of a scale, and
which notes should be emphasized. Often, the notes of a scale lie only a quarter-tone
apart, rather than half-steps apart. What can sound like dissonance to American ears are
actually extremely subtle differences in tone.
Rhythm
Middle Eastern music often contains overlapping rhythms. The drummer may be playing
one rhythm, the violinist another, the riq (tambourine) player a third, while the dancer
keeps yet another on her sagat (finger cymbals), yet all are woven together into a
seamless tapestry of sound. The dancer’s job is to embody the different rhythms for the
audience, while also expressing the emotion of the music.
Improvisation
Middle Eastern musicians frequently perform taqasimthe art of improvisation. Taqasim
may be woven into existing compositionssimilar to a guitar riff in the middle of an
American rock songor played as an art in themselves, as in the Arabic classical
tradition. The musician begins with a well-known melody, a maqam, or a simple
collection of notes, then embellishes it in a free-flowing manner.
Ornamentation
Often, Middle Eastern music involves ornamentation. In the same way a dancer’s delicate
hand gestures ornament her dance, a musician’s style may embrace and color individual
notes. Ornamentation includes the use of grace note, trills, runs, arpeggios, “bending” a
note, and other techniques. To draw a parallel, imagine singing a simple child’s melody
like “Three Blind Mice.” Then imagine how a jazz musician might play with the song,
stretching out certain notes or adding syncopation. You still recognize the basic melody,
but the musician has put his or her stamp on it. Both improvisation and ornamentation
allow musicians to express their individual style within traditional forms.
©Jawaahir Dance Company 1989, Minneapolis, Minnesota, www.jawaahir.org, 612-872-6050
Call and Response
Middle Eastern music frequently employs a call-and-response form in which a lead
instrument plays a phrase and another instrument responds, creating a musical
conversation. The lead and responding instrument can change throughout the
composition.
Instruments
TablaA drum, shaped somewhat like a goblet, traditionally made of clay and covered
by a goatskin head. The tabla is literally the heartbeat of Middle Eastern music, as its beat
keeps time for the other members of the orchestra. This drum is sometimes referred to as
a durbakke or the doumbek.
OudA short-necked, pear-shaped string instrument, the ancestor of the European lute.
(Say both words aloud, and you’ll hear the relationship.) Sometimes beautifully
ornamented with mother-of-pearl, the oud was traditionally made of the wood of a fruit
tree and plucked with an eagle feather. (Today’s musicians use a plastic plectrum or
pick.) The sound is warm and full and deep.
ViolinFamiliar to American audiences, the violin was introduced to the Middle Eastern
orchestra only recently, in late 19th or early 20th century. The violin is frequently the lead
or responding instrument in a traditional call-and-response. Because of its resemblance to
the human voice, the violin is capable of expressing tremendous emotion.
SingerThe singer plays a vital role in both traditional and classical Middle Eastern
music, due to the importance of the lyrics. A classical Arabic vocalist can present an
entire evening of sung poetry. Part of the singer’s role is to bring the poetry to life
through vocal techniques that invoke the emotions.
SagatSmall finger cymbals, similar to a Flamenco dancer’s castanets. A dancer may
play the underlying percussive rhythm of the music on her sagat.
NaiA hollow reed flute, the nai has the haunting, breathy quality that Americans often
associate with Middle Eastern music. Because these flutes cannot be tuned to the different
maqamat, a nai player carries flutes of many different sizes.
KanunA stringed instrument similar to the zither, the kanun has 72 strings, which are
plucked by rings fastened to the musician’s fingers. The kanun has a delicate, intricate
sound, brighter and seemingly faster than the oud.
RiqThe Middle Eastern tambourine, the riq (sometimes called the daff) is played by
striking both the fishskin head and the cymbals that surround it.
TarA large, round frame drum, similar to the Irish bodhran. The tar is used mainly in
popular and folk music and is also referred to as the duff or the bendir.
©Jawaahir Dance Company 1989, Minneapolis, Minnesota, www.jawaahir.org, 612-872-6050
Other Traditional Instruments include the tabal beledi, a large bass drum played in
folk music; the mizmar, an oboe-like reed instrument; the mijwiz, a double-reed
instrument with a droning sound; and the rababa or rebec, a two-stringed fiddle held
upright on the knee.
Modern Instruments such as electric guitar, accordion, saxophone, clarinet, organ,
piano, cello, bass, and even drum machine and synthesizers are common in today’s pop
music. Like all great musical traditions, Middle Eastern music is a living art form that is
always adapting and changing while staying true to its heritage
©Jawaahir Dance Company 1989, Minneapolis, Minnesota, www.jawaahir.org, 612-872-6050
FAQSFrequently Asked Questions
What should I listen for?
Hearing an orchestra play Middle Eastern music for the first time can be overwhelming.
Begin by concentrating on how one instrument is playing. Try listening to the drums first,
then focus on another instrument. Then hear how the instruments interact with each other.
If there is a singer, listen to how he or she interacts with the musicians. When in doubt,
listen for the deepest drum beatit is literally the heartbeat of the music! Mostly, listen
with your entire body, and when the music goes somewhere, let it take you on its journey.
Where does the music come from? What do we know about its history?
Middle Eastern music is a living tradition that has roots in the ancient civilizations of the
Middle East. It echoes the court and folk music of Sumeria, ancient Egypt, Arabia, the
Islamic Empires, Andalusia, and Persia. The resulting music traditions are deep and
varied, but always evolving as each generation adds its innovations while honoring the
forms and work of the past.
What are the different styles of music?
Within the two broad categories of folk and classical music, there are hundreds of styles
springing from various regions and sub-cultures. For instance, the pearl-divers of Bahrain
have their own musical styles. So did the court musicians of the Ottoman Empire, the
mystics of Persia, the folk musicians of Andalusian Spain, the villagers of Lebanon, and
many others.
What are the songs about?
Love is a major theme in Middle Eastern music, in all its aspectslove of family,
country, nation, nature, and of course, the beloved, whether close at hand or separated by
oceans. In addition to love, many songs focus on religious and national ideals. Whatever
the theme, however, it is always rendered with strong emotion and passion.
Is this music written out in scores?
Yes, composed music and folk tunes are often written out in scores using Western
notation, although many musicians (particularly folk musicians) still learn pieces by ear.
I’m hooked! How can I hear more Middle Eastern music?
Listen! Middle Eastern music is now available in large music retailers and specialty
shops. You can also order by catalogueRashid’s, Daff & Raff, and al-Manar are some
of the companies to look for.
Watch! Check the newspaper for performances in your area. Or look for the movie Umm
Kulthum: A Voice Like Egypt by Michal Goldman. This 1997 film (now available on
video) explores the performances and life of the greatest Arabic songstress of the 20th
century, Umm Kulthum.
©Jawaahir Dance Company 1989, Minneapolis, Minnesota, www.jawaahir.org, 612-872-6050
Read About It! A few books to start with include Habib Hassan Touma’s The Music of
the Arabs and Virginia Danielson’s Umm Kulthum: The Voice of Egypt (published by the
University of Chicago Press.)
Surf the Net! Start with our website at www.jawaahir.orgwe have links to many web
sites and discussion groups on Middle Eastern dance, music, and culture.
Contact Us! We’d love to hear from you! Call, write, or E-mail us at:
Jawaahir Dance Company and The Cassandra School
Hennepin Avenue
Minneapolis, MN 55403
Phone (612) 872-6050
E-mail cassandr@jawaahir.org
Web www.jawaahir.org
©Jawaahir Dance Company 1989, Minneapolis, Minnesota, www.jawaahir.org, 612-872-6050
What are the different Middle Eastern Dances styles?
There are three main styles; folkloric, classical, and contemporary.
Folkloric: Dances based on distinct regional styles are called Raqs Beledi. Examples range from
the lively rhythms and colorful costumes of Upper Egypt, to Khaleegy, a delicate, graceful dance
performed in the Arabian Gulf by women dressed in flowing beaded gowns and accompanied by
female musicians. Some folkloric dances are performed by professional entertainers (such as the
Ghawazee in Egypt or the Sheikhat in Morocco) and others are performed by the people at
parties and celebrations. Folkloric dances are the roots of today’s Belly Dance.
Classical: During the Ottoman Empire, which unified much of the Middle East under a single
rule, many regional styles merged into the classical form of the dance, known as Raqs Sharqi.
(Dance of the East in Arabic which, today, is often referred to as Belly Dance). This urban form
of the dance, considered more sophisticated than the folkloric, is generally improvised by a solo
dancer and represents her personal interpretation of the music. The traditional costume would
have been the folkwear of the region with a sash tied around the hips to accent the movements.
Today, the term Cabaret is sometimes used to define the performance style seen in nightclubs. It
often carries with it the assumption of a dancer wearing a bedlah, or 2 piece costume. The bedlah
is a professional dancer’s costume that became popular in the twentieth century when the dance
as entertainment moved into nightclubs and movies. It is an Indo-Persian concoction inspired by
Orientalistes’ paintings and the West’s fascination with the East. And, in turn, as Cairo became
fascinated with the West, it became the accepted professional costume in Egyptian movies and
nightclubs. The labels American, Egyptian, and Turkish refer to regional stylizations of the
dance.
Contemporary: Today, dancers in both the Middle East and the United States are experimenting
with new ways of presenting the dance, marrying the costumes, movements, music, and folktales
of the Middle East with all the magic and technology of the Western stage. Like all great dance
traditions, Middle Eastern dance is a living art form that is always adapting and changing while
staying true to its heritage.
There are also contemporary dance forms that have been inspired by the Middle East, other
world dances, and Orientalistes’ paintings. American dancer Ruth St. Denis drew upon these
themes in her works in the early 1900’s. Another American innovation, “Tribal Belly Dance,”
evolved from Renaissance Fair Entertainment in the late 1960’s. An example is Bal Anat, a
dance troupe created by Jamila Salimpour. Jamila drew upon her imagination and experience
from being a member of Ringling Brothers Circus to create a variety show which she describes
herself as “half real and half hokum”. Performance groups such as Bal Anat inspired a new
generation of dancers with what was first called “ethnic” dance (with some groups identifying
themselves as “tribes”), then “American Tribal.” The tribal theme continues to evolve with Goth
Tribal and other genders. What was once solely an American phenomenon, Tribal Belly Dance
can now be found in Europe and many other countries.
As in the past, belly dance as a performance art continues to evolve out of the need for
entertainment.
Middle Eastern Dance
Introduction, Movements, and FAQs
Introduction
The Music
Middle Eastern music can sound strange at first to American ears, because the notes of
the scales often lie only a quarter-tone apart, rather than a half-step. What sounds like
dissonance are actually extremely subtle differences in tone. Other characteristics include
complex rhythms, use of improvisation and ornamentation, and a call-and-response form.
(Click here for more information)
The Dance
The dancer literally embodies the music, as different body parts move to different
rhythms. The dancer’s job is to increase the audience’s awareness of the music, while at
the same time expressing the emotions behind it.
The Groove
When it all works together, Middle Eastern music and dance are virtually inseparable art
formsthe music drives the dance, while the dancer simultaneously influences the
musicians. Many times, the dancer and the musicians are improvising around a central
theme, similar to American jazz musicians.
The Audience
The audience is the final piece of the puzzle, adding the sense of celebration and
spontaneity that brings the performance to life
Movements
CostumeColorful fabrics and shiny beads draw the eye to where the rhythm is being
expressed, especially the hips!
Facial Expressions are a vital component of the dance. Arabic poetry often comments on
how the eyes express emotions.
Hair may be covered for folkloric dances, uncovered for classical dances. Dancers in the
Arabian Gulf region may toss their hair in time to the music.
HandsDelicate hand movements ornament the dance. A dancer may also play the
underlying rhythm of the music on her sagat (finger cymbals).
Arms create a frame that draws the eye to the isolated movements of the hips. They also
move in sinuous, snake-like fashion, or in graceful curves around the body.
©Jawaahir Dance Company 1989, Minneapolis, Minnesota, www.jawaahir.org, 612-872-6050
TorsoUnlike classical ballet, which focuses on moving the limbs in intricate patterns,
Middle Eastern dance focuses the viewer’s gaze on the torsothe region of the body
from the shoulders to the hipsbecause this is where the rhythms are most frequently
displayed. So don’t be shygo ahead and look! Remember that the point is not to expose
the body but to illustrate the musical rhythms and express the joy of movement.
Upper TorsoA dancer can express a particular rhythm by lifting and dropping her
sternum or rib cage, or she may use the rib cage to fluidly undulate the spine.
BellyThe belly generally moves in a rippling, fluttering, or undulating motion. The
belly may move slowly or quickly depending on the tempo of the music.
HipsWhen in doubt, look here! There is a vital relationship between the hips and the
drums, because the hips usually move in time to the main drumbeat.
LegsAlthough the lines of the torso are visible, it is traditionally considered
inappropriate to display the legs. Hence, they are usually covered with swaths of fabric.
FeetUnlike classical ballet, the point of Middle Eastern dance is not to move the body
through space in patterns, but rather to embody the music. Although folkloric and group
dancers may move about the room with quick and delicate steps, a solo dancer generally
covers less space.
What’s the most amazing thing about Middle Eastern dance? That all of the complex
movements described above are being performed simultaneously, in a relaxed and joyous
fashion, while still expressing the passion of the music.
FAQsFrequently Asked Questions:
Where does the dance come from?
From every region of the Middle East, including Egypt, Turkey, Lebanon, Saudi Arabia,
and North Africa. Middle Eastern dance also has branches in Central Asia and in
nomadic cultures such as the Bedouin and Romany (Gypsy).
What are the different styles?
There are three main styles folkloric, classical, and contemporary.
FolkloricDances based on distinct regional styles. Examples range from the lively
rhythms and colorful costumes of Upper Egypt, to the zar, a dramatic dance ritual from
North Africa, to khaleegy, a delicate, graceful dance performed in the Arabian Gulf by
women dressed in flowing beaded gowns and accompanied by female musicians.
ClassicalDuring the Ottoman Empire, which unified much of the Middle East under a
single rule, many regional styles merged into the classical form of the dance, known as
raqs sharqi. This urban form of the dance, considered more sophisticated than the
©Jawaahir Dance Company 1989, Minneapolis, Minnesota, www.jawaahir.org, 612-872-6050
folkloric, is generally improvised by a solo dancer and represents her personal
interpretation of the music.
ContemporaryToday, dancers in both the Middle East and the United States are
experimenting with new ways of presenting the dance, marrying the costumes,
movements, music, and folktales of the Middle East with all the magic and technology of
the Western stage. Like all great dance traditions, Middle Eastern dance is a living art
form that is always adapting and changing while staying true to its heritage.
Where is the dance performed?
In the Middle East, dance and music are woven into the fabric of everyday life, a vital
part of weddings, feast days, and family gatherings. However, only professional dancers
perform for the general public. In the United States, dancers perform in theaters,
restaurants, and at family celebrations in the Arab-American community.
Do the individual movements mean something?
No. Unlike classical Indian or Hawaiian dance, where a set vocabulary of gestures
correspond to literal meanings, Middle Eastern dance is an abstract, musical form. The
dancer is expressing emotions and illustrating the music rather than telling a story.
What’s that funny noise the audience keeps making?
That’s the zagroota (plural = zaghareet), the traditional ululating cry of Middle Eastern
women. It is a way of expressing appreciation for the performer, like an audience yelling
“Bravo!” at the opera.
What do we know about the history of the dance?
The earliest records are found in the tomb paintings of pre-Pharonic Egypt and the
writings of Roman travelers. Dance and music flourished during the Golden Age of
classical Islamic civilization, in the 8th through the 10th centuries. Over the centuries,
distinct styles developed in different social classes. Lower-class dancers at street festivals
were known for their raw, earthy style and folk instrumentation, while urban professional
dancers refined the movements into a graceful and sophisticated art, accompanied by a
classical orchestra. In the 1920s and 1930s, choreography became popular for the first
time as dancers created extravagant, Busby Berkeley-like numbers for film and
television. The rise of Arab nationalism in the 1950s led many countries to create
national folklore troupes, bringing the dance to a wider stage. Always a component of
social life, the dance’s popularity as a public performance has waxed and waned many
times over the years. Currently, censorship and a conservative climate restricts the
movements of the dance, as well as the manner in which it is presented.
©Jawaahir Dance Company 1989, Minneapolis, Minnesota, www.jawaahir.org, 612-872-6050
 Ifta Ya Sim-sim! “Open Sesame!”
Suggested Website List
University of Memphis Institute of Egyptian Art and Archaeology:
http://academic.memphis.edu/egypt/index.html
Egypt Today (Magazine): http://www.egypttoday.com
Arab American Discrimination Council: http://www.adc.org.
Discovery: Middle School Lesson:
http://school.discoveryeducation.com/searchresults.cfm?N=0&Nty=1&Ntk=all&blnPublic=1&Nt
t=Middle+East
Orientis Middle Eastern Music, Composition & Orchestration (about Turkish music):
http://www.orientismusic.com/
Babel: Learn Arabic Online: http://i-cias.com/babel/arabic/index.htm
University of Texas at Austin - Middle East Network Information Center:
http://www.outreachworld.org/resource.asp?curriculumid=312
Guardian’s Egypt: http://guardians.net/egypt/
Al-Mashriq: http://almashriq.hiof.no/
Aljadid; A Review and Record of Arab Culture and Arts: http://www.aljadid.com/index.html
Al-Ahram Weekly On-Line: http://weekly.ahram.org.eg/index.htm
Arab Detroit: http://www.arabdetroit.com/
Arab Media & Society: http://arabmediasociety.com/
Maqam World (About Arabic Music): http://www.maqamworld.com/index.html
Music of Lebanon (Listen to popular Arabic music): http://www.musicoflebanon.com/
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Map of the Middle East
Arab Musical Instruments
I n every Arab country, one hears the same distinctive sounds; whether instrumental or vocal,
the melodies are remarkably similar in emotive power, tonal range, and rhythmic drive.
Although the practiced ear can recognize variations of musical style, as it can the dialects of
language which distinguish the spoken word from country to country, the sounds remain
unmistakably those of the music of one people.
The historical origins of this music, however, are extremely heterogeneous. Early Arab
musicians borrowed copiously from the Egyptians, Assyrians, and Sumerians. Many of the
instruments now used are direct descendents of those depicted in the wall paintings and
carvings of these past civilizations.
The distinctive quality of Arab music owes a great deal to the type of instruments employed. As
ancient and traditional as the music itself, the present forms of these instruments evolved
primarily in the eighth through tenth centuries, during that creative zenith of classical Islamic
civilization known as the Golden Age.
T he English word lute, which derives from the Spanish
laud, originally came from the Arabic al-'ud, literally meaning
'branch of wood.' Between the eighth and tenth centuries, the
'ud had only four strings; a fifth was added by Zitiab, the
famous Andalusian performer, and a sixth later on in the
fifteenth century. Shaped like half a pear with a short unfretted
neck, the 'ud has six sets of two-strings and is played with a
plectrum - often a trimmed eagle's feather - producing a deep
and mellow sound. Virtuosos across the Middle East refer to it
as 'the King of all instruments.'
T he tablah is a small hand-drum also known as the durbakke. One of
the most commonly played of the percussion instruments, the tablah is a
membranophone of goat or fish skin stretched over a vase-shaped drum
with a wide neck. Usually made of earthenware or metal, it is placed
either under the left arm or between the legs and struck in the middle for
the strong beats and on the edge for the sharp in-between beats.
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T he qanun is a descendent of the old Egyptian harp and has had an integral part in Arab
music since the tenth century. A kind of dulcimer, its Arabic name means 'rule' or 'law.' The
qanun was introduced to Europe in the 12th Century, becoming known during the 14th to the
16th Century as a psaltery or zither. The qanun consists of a
trapezoid-shaped flat board over which 81 strings are
stretched in groups of three with 24 treble chords consisting
of three chords to each note. The instrument is placed flat on
the knees or table of the musician; the strings are plucked
with the finger or with two plectra, one plectrum attached to
the forefinger of each hand. More than any other instrument
in Arab music, the qanun is suitable for the display of virtuosity, the execution of fioriture and
rapid scales.
Interestingly, this traditional Arabic instrument, absent from the Rahbani orchestra, has been
replaced by the less complex piano, itself an outgrowth of the harpsichord, an instrument which
T he word nay comes from the Persians. It is used to describe a
single reed pipe of the simplest design whose origins go back to the
Sumerian civilization.
Nay is the generic Arabic name for simple open-ended reed
instruments which usually have 6 holes in the front for the fingers to
play and 1 hole underneath for the thumb. Fine, mellow tones are
brought forth by blowing gently over the orifice of the tube while
manipulating the fingers and thumbs. By blowing with more or less
force, sounds are produced an octave higher or lower, and tunes in
different scales can be played by utilizing nays of various lengths.
Although very simple, the nay is extraordinarily versatile. Its poetical
T he mijwiz, which literally means 'dual' in Arabic, is a type of double
reed clarinet popular in Syria, Lebanon and Palestine. In North Africa its
equivalent is known as the maqrum. It is played by breathing gently through
a circular aperture on the end and by manipulating the fingers over the holes
down the front of the tube, in order to produce specific sounds.
In the hands of a good performer, the sounds produced by the mijwiz may
very well reflect the musical dialogue between two moods.
Similar to the mijwiz is the minjayrah, an open-ended small reed flute
played in the same manner, popular among the mountain villagers of
Lebanon.
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T he word buzuq comes from the Turkish and occurs in 'bashi
-buzuq,' the name given to the Ottoman troops, literally meaning
'burnt head' or 'uprooted.' The buzuq, which is an essential
instrument in the Rahbani repertoire, is a hybrid instrument that
is not classified among the classical instruments of Arab music
nor among those of Turkish music. However, this instrument
may be looked upon as a larger and deeper-toned relative of the
Turkish saz, to which it could be compared in the same way as
the viola to the violin in Western music. Before the Rahbanis
popularized the use of this instrument, the buzuq had been
associated with the gypsy music of Lebanon and Syria.
A long-necked fretted string instrument, the buzuq is furnished
with 2 metal strings which are played with a plectrum, offering
a metallic yet Iyrical resonance.
A lso known as the rikk, the daff is the Arabic name for the
popular instrument corresponding to the English tambourine. It
consists of a round frame, covered on one side with goat or fish
skin. Pairs of metal discs are set into the frame to produce the
jingle when struck by the hand. The sounds of this percussion
instrument set the rhythm of much Arab music, particularly in the
performances of classical pieces.
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