Chapter 3: The Middle

East
What is considered “Middle East?”

 Countries and Culture

 Languages and Religions
 Many types of music and organized sound
Let’s look at the map, Patra!
 North African countries, plus
 Turkey, Syria
 Afghanistan, Pakistan
 Yemen, Democratic Yemen
 Oman
 United Arab Emerites
General Associations
 Iran
 Iraq
 Israel
 Jordan
 Saudi Arabia
What the text covers
 Middle Eastern culture most common trait:

 Religion is Islam
 creates homogeny throughout countries
What the text really doesn’t cover
 Not much on Israel, Jewish religion

 Vital culture in the Middle East

Judaism
 Additional lectures on music and Jewish
culture NOT in textbook.
(Very) General Concepts: Music and
Islam
 Definition of music changes drastically

 Organized sound: on a continuum based on

religious acceptability
The Western Lens
 Our western ears will hear tones, being
“sung”
 By Muslim standards/practices=not music
 Each culture defines what is and isn’t music

 Keep working to listen through the lens of the

culture. Ask your Muslim friends.

Curious? Do some reading. This goes for all

cultures, lifestyles.
Cultural and Musical Values of Islamic Middle East

 Islam is defining element in both culture and

musical values
◦ Religion and way of life
◦ Egalitarian, modified
◦ Equality of men before god (women not included)
◦ Strong distinctions between genders
Cultural Values
 Having a skill (trade) highly regarded
occupations

 Importance of language and respect for

scholarly work
Why are we nervous about Islam?
 Kindness, love, respect, education and good
deeds. (Karen Armstrong’s book, Islam)

 Invitation to Muslim students

 Music and culture; music and religion
Here’s what the textbook says
 Music is regarded with ambivalence: feared
and loved
 Koran does not forbid music
◦ instrumental music is dangerous

 Musical activity still part of culture

 Musical values very different from ours
◦ System of acceptability
◦ Two words for what WE identify as music
◦ Continuum created into which all organized sound
fits
The Continuum of Organized Sound
 Khandan “to recite”--------- Musiqi “music”
 Sacred secular
 Improvised composed
 Non metric metric
 Vocalinstrumental
 Solo, male ensembles
◦ Includes chanting of Koran includes pishdaramad
Listening
 The cultural value of sound is related to how
closely it resembles the sound of the Koran
being recited.
  
 LISTENING: Class CD Chanting of the Holy

Koran (Text: p68; CD 1, Tr. 5)

 MUEZZIN
Why fasting from food / water?
 Stay focused on prayer.
 Earthly distractions (eating, working) takes

one away from God on this most holy day

Islamic Cultural View of Music and Musicians

 Feels somewhat contradictory

 Musicians are held in low esteem
 Music scholars are highly valued

KHUMARIYAAN: Sept 23 in class

Pakistani music group
D2L, Facebook
 Music and Religion should not mix
◦ Exception The Sufi: mystical movement within Islam
◦ Music just another way of knowing and being close
to god
 Stigma associated with title “musician”
◦ Many musician types: defined by genre of
performance
◦ singers, instrumentalists deny title musician
More about Sufi/Islam
 "Islamic Mysticism”

 Muslims seek to find divine love and

knowledge through direct personal
experience of God

 experience of mystical union or direct

communion with ultimate reality

 Split about AD 661

 In fact, Sufism is never characterised under
"Islam" in any system of catalogue, but rather
under 'Mysticism'.

 http://www.allaahuakbar.net/sufism/
its_origin.htm
 Music of all forms is forbidden by the majority of scholars
 attached to forbidden drinking, fornication and parties.

 after the Muslim conquest of the Deccan under Malik Kafur (c.
1310)
 a large number of Hindu musicians were taken with the royal
armies and settled in the North.

 The acceptance of the Sufi doctrines, in which music was an

accepted means to the realisation of God,
 allowed Muslim to extend their patronage to this art.

 At certain courts, music flourished on a grand scale

 Sufi Dervishes used music as a means to enter ecstatic trances.
The Middle Eastern “sound”

 Texture
◦ monophonic/heterophonic
◦ No harmony
 Singing style
◦ tense, harsh tone
◦ no vibrato (straight tone)
◦ highly ornamented (lots of fast notes)
More elements
 Melodic Organization
◦ system of modes (scale type organization)
◦ includes bent tones
 maqam (Arabic) dastgah (Persian)

 Rhythmic Organization
◦ metric, non metric, and combinations
 Improvisation
◦ Central but strict framework
Prominent Instruments
 Great list on pp 63
 Chordophones
 Membranophones
 Aerophones

 You will need to know some common

instrument names and their categories
Persian (Iranian) Classical Music
 Very rich tradition in Iran and Iraq

 Modern but still viewed with suspicion: music

for entertainment

 Acceptable: intellectual components (music

theory and scholarship)
Where we hear it…
 Venue: concert hall

 Performers: ensemble of instruments, often

with female singer

 Construct: five sections, various combinations

of metric/nonmetric

 Vocal/instrumental; composed/improvised
Musical Instruments
 Not usually made by Muslims
 Intrumental music still considered dangerous
 Instrumental timbres mirror vocal sound
 Long-necked Lutes: setar, tar
 Spiked fiddle: kamancheh
 Hammered dulcimer: santour
 Bamboo flute: nei
 Drum zarb
Musical Scales, Tones
 Dastgah: a particular scale, character, and
melodic theme, around which a tune is
improvised; formal structure for a classical
piece of music

 There are 12 dastgah

The Element of Improvisation in
Classical Music
 RADIF
 basic repertoire used as a foundation for

composition and improvisation

 Over 300 pieces
 Jumping off point for performance
A complete classical piece
 1. Daramad=solo, then ensemble

 2.Pishdaramad=ensemble piece in unison

 3.Chahar mezrab= virtuosic solo ,fast

 4.Tasnif= lyrical song

 5.Reng= dance like piece

Music Reflects Cultural Values
 Reflection of Iranian affinity for large,
complex structures

 Intricate carpet designs

 Literary works of great length and substance

 Complex imperial political system
 Radif is product of these influences and
reflects values
◦ Tension between hierarchy and equality
◦ Order of pieces within radif, relative importance,
prominence of each
 Music not originally considered in this
sensibility until early 20th century
◦ Emperor of Iran modernized military music with
help of Europeans
◦ People noticed grand design of western music;
musicians more respected
LISTENING: Class CD tracks 7-8

 Radif of Nour-ali Boroumand tr 8

 Played on the chordophone, the Tar

 Khatereh Parvane
Nusrat Fateh Ali Khan
 Khan: musical family for generations
 Sufi singer and his Party
 Songs to god, praise songs
 Devotional songs
 Poetic lyrics
The Revolution in Iran, 1979

 Public musical performances outlawed

 Role of women subjugated (female singers)
 Fundamentalist regime hard line against

music for entertainment (concerts)

  
 Iranian government encourages development
of Persian and Western classical music

 Supports public concerts, concert tours (no

popular music)
 Sponsors research and preservation efforts
More Listening:
Instruments on this recording
 Zarb
◦ Wooden, goblet shaped drum
 Kamanche
◦ 4 stringed bowed fiddle, played vertically, with a
skin-covered body
 Santour
◦ hammered dulcimer 72 strings

 Tar
◦ long necked lute
Ensemble Music
 Dastgah Segah
◦ Two, old tasnifs (lyrical songs)
◦ Sufi texts, ensemble accompaniment
◦ Instrumental intro

 Singer: singing traditional Sufi love poems

 Excellent example of heterophony

Originally
 Persian pop music was developed by the
1970s, using indigenous instruments and
forms and adding electric guitar and other
most western instruments
Farsi-Pop
 In the 1990s,
 Iranian officials decided to produce and

promote a "decent" pop music to compete

with the informal mainstream Persian pop
music,

 Pop music in Iran is subject to strict

regulation
1950s
Iranian pop music in its modern form was
born in the first Iranian studio with the works
from 1950s artists.
 Even though pop music in Iran experienced a

20-year hiatus in the aftermath of the Islamic

Revolution,

 Iranian expatriates living in California revived

Iranian pop music in the 1980s.
Radio brought the West
 Iranian popular music itself was the copy of
the western music with only the lyrics
translated into Farsi.

 But after the 1979 Islamic Revolution pop

music was branded as western, un-Islamic,
un-Iranian etc. and was banned altogether.
Movie Music
 Songs from movies extremely popular
 Music videos are big productions
 Pop music in Iran is subject to strict
regulation.
 Artists must get a permit from the
 Iranian Ministry of Culture and Islamic

Guidance.

 Three year waiting period.

Sonic Influences
 American
 Latino
 Techno

 These sounds are okay by government. It’s

the LYRICS that are most important and will
largely determine if the song is all right.

 Modest lyrics, no overt sexuality, no

subversive
Official Farsi-Pop
 In the 1990s, Iranian officials produce and
promote

 a "decent" pop music to compete with the

informal mainstream Persian pop music
Group Assignment 25pts
 In Class Group Assignment 25pts Group number__________________
 Use class time on Thursday.
  
 I. Find two contrasting examples of Farsi-pop NOT FROM CLASS
 ◦ Make sure you can get the lyrics! (www.lyricstranslate.com)
 a. List the band name and Youtube
address___________________________________

 b. Listen to both;

 c. compare and contrast their sounds. Include instruments, modern and

traditional, lyrics
  
  
  
Some famous Farsipop Bands
 Arian Band: popular band
◦ Barun
◦ Parvaz
Sirvan Khosravi: famous contemporary artist
Na Naro,
Man Asheghet Shodam

Sung in Farsi; English translations Go to:

www.lyricstranslate.com--Persian--Choose artist—
chose name
Arian Band, Parvan
 Traditional Elements
 Male singers using ornamentation
 Traditional clothing for both genders
 Persian instruments
 Elements of FUSION
 Electric violin
 Spanish Classical guitar
 Short phrases with harmony
 Electric bass, keyboard
 Rock concert venue
Farsi Pop identifiers

 Modest lyrics about idealized love

 Women on stage were dressed traditionally
 Women wore more modern make up
 A female was playing a guitar
 Implementation of some traditional Persian

musical elements
Sirvan Khosravi
 Electric programmed traditional instruments
 Ethiopian influence in background
 Appearance was globally contemporary
 Single melody repeated
 Voice sounded more Western; lack of

ornaments
 Beat was more ‘techno’
This assignment is on D2L: Farsi-Pop: Listen to 1
track each. Choose one.www translationlyrics.com
  
 1. Googoosh, Arian Band, Sirvan Khosravi
 2. Describe the percentage of fusion. More

Iranian, More Western, try to assign a percentage.

  
 3.Choose where on the continuum of organized

sound this band would fall, and WHY.

  
 4. Was this music you think Americans would

listen to? Why?

Section 2: Music in Judaism
 Slides 54-80 consists of our chapter
 Jewish Music
 Biblical
 Liturgical (during the worship service)
 Cultural
Judaism

 Israel: 40% of world’s Jews live there

 Diaspora

◦ Middle east
◦ North Africa
◦ Europe
◦ Russia
◦ United states

 Adopted many characteristics of new countries

 Segregation/community= culture/music intact
 Striking similarities
From the Jewish Outreach Institute
 Yom Kippur comes ten days after the
celebration of the New Year.

 This sacred day is spent worshipping and

fasting. On Yom Kippur, God forgives us and
we forgive each other.

 Tradition to wear white, symbolizing purity;

 Soul is pure after divine forgiveness
Israel
 Made a country in 1948 after WWII
 A refuge for jews who wanted to leave Europe

and Russia
 A religious state
 A religion and a culture
 40% of world’s jews live in Israel
 Law of Return

◦ Jews and jewish ancestory and spouses automatic

citizenship
Orthodox or Reform Jew?
Orthodox Judaism is the traditional.
 They are very strict. Services in Hebrew.

 Reform Judaism is more ‘modernized’

 More progressive. Services in vernacular.
Music in Jewish Cultures
 Praise songs
 Folk songs

 The SHOFAR: a ram’s horn, blown to call

people to worship

 CANTILLATION
◦ Method of chanting biblical texts
◦ Non-metric melodies
Music as National Identity
 Music in Israel is an integral part of national
identity.

 This view of music as nation-building

continues to this day
Music as a nation builder
 Intent to create a repertoire of Hebrew songs

 Distinctive musical style

 Not only creative outlet, but a national

imperative.
Shirei Eretz Yisrael
 "Songs of the Land of Israel”

 The songs were often homophonic, modal,

and limited in range.

Musical Instruments

 Tradition: musical instruments should not be

played on the Sabbath (no fixing)

 Organ introduced mid-19th century

 Traditionalists= voice alone Orthodox
 Modernists=organ is okay, Reform
 But nowadays…
 for the first time in its history, a Saturday

worship service
 singing the traditional prayers WITH guitarist

and keyboard
Notes from a Rabbi
 Historic perspective
 Hebrews, Israelites: biblical people
 Jews, Israelis: contemporary people

 Music of three basic types

 Biblical: the shofar
 Liturgical: the cantor, singing
 Cultural: Klezmer, folk music
Biblical and Liturgical Traditions
 These are both ORAL/AURAL traditions
◦ Spoken and heard from cantor to congregation
◦ From rabbi to congregation

◦ The LITURGICAL tradition also has modern written

elements (as preservation, study, dissemination)
Some Terms
 Liturgical music:
 during worship services in the synagogue

 Cantor:
 trained vocal specialist who learns and sings the

traditional prayers, leading the congregation

 Torah: Five books of Moses including

Genesis, Exodus, Leviticus, Numbers,
Deuteronomy
 Hebrew:
 the language of worship

 Yiddish:
 cultural language –vernacular

 Niggun: simple melody, no words

Listening: Liturgical Music
 Kiddush: is a blessing recited over wine or
grape juice to sanctify the Shabbat and
Jewish holiday.
Kiddush: Blessed are you, Lord
 http://www.youtube.com/watch?v=37R8BrEG
u9w

 Sung every Sabbath

Eyn Keloheynu
 There is none like our god.
 .

http://www.youtube.com/watch?v=JvCuk_Uz
Eaw
 http://www.youtube.com/watch?v=1jsseGcvV
rw&feature=related
Another take
 Andy Statman Quartet
 http://www.youtube.com/watch?v=Vv8cj71X
Vsw&feature=related
Cultural Musical Distinctions
 “Jewish” music is a product of the
geographical location and religious culture of
the people.

 The sounds always include regional

instruments, scales, sometimes vernacular
(language of country), sometimes in Yiddish
KLEZMER
 Yiddish music

 Fusion of eastern European instruments and
sometimes traditional melodies.

 Fusion can also be with jazz instruments.

Cultural music, not for worship.

 Klezmer moved and thrived in United States

with emigration late 1800’s
Klezmer Bands
 Instruments often include:
 Clarinet,
 Accordian,
 Violin,
 Double Bass
 Drums

Piano
Examples
 Jewish music from Israel sounds different
from Eastern Europe

 Folk music movement in America, 1960’s:

◦ Musicians wove music of their Jewish roots into the
American folk music scene
 Israel: yearly festival for “best folk song”
◦ Song best represents the current culture

◦ Jam band culture: The Dead, PHISH

Listen to Klezmer by Klezmatics


http://www.youtube.com/watch?v=hR5xlmkv
fc8

http://www.youtube.com/watch?v=HGTPd6S-
3SM&feature=related

 http://www.youtube.com/watch?v=UmuepZ6J
74A&feature=related
Debbie Friedman
 Singer/Songwriter
 Clearly influenced by 1960’s American culture
 Lots of influences

 Let’s listen!
 Miriam’s song
 http://www.youtube.com/watch?v=QZdSEsZ8
bMo

 Water in the Well

 http://www.youtube.com/watch?v=1jJXCpEq
O54&feature=related
At a birthday party
 Singing blessings at a 60th birthday party
 http://www.youtube.com/watch?v=ej2cxK1S
Tcw&feature=related

 Notice everyone is singing

More Examples
 The Idan Raichel: popular music group

 Yemenite Jew (from Yemen)

 Incorporates smooth pop music sounds

In summation
 Three types of music in Jewish culture
 Biblical Sounds
◦ Shofar: the ram’s horn

 Liturgical Sounds
◦ Songs, chants: how Jews observe worship

 Cultural Sounds
◦ From the community (ex. Poland, Israel)
Recordings used
 Music of the Jewish Baroque
◦ Salamone Rossi, c. 1570-1630
 Treasures of Klezmer, 1908-1996
 Metropolitan Klezmer
 Andy Statman, Songs of Our Fathers
 The Idan Raichel
LISTENING QUIZ: NIYAZ

 1. Middle Eastern or Jewish? WHY

 Chordophone\
 Ornamentation from instruments and singer
 No harmony
 Membranophone
 Electronic sounds
 Electric guitar
 Not traditional music but some kind of fusion
LISTENING QUIZ Q. 2TARKAN
 1.Electronic sounds; must be fusion
 Ornamentation by the singer
 Repeated melody
 Membranophones/drums
 Warm location
 Western clothes, relatively
 ‘graffiti’ in “middle eastern” language
 Lead singer in western clothes
 Club like sounds, dance beats, most in rhythm
LISTENING QUIZ #3 Beastie Boys
 1. Electronic
 Membranophone
 English language
 Scratching-part of musical texture
 Rapping
 Hip Hop influences
 Club feel to the music
 Super Sentiai parody
Listening Quiz Q. 4
 Chordophone w/high metallic sound
 Chordophone-piano
 Membranophone (probably snare drum)
 Melancholy sound
 Folk music sound easy listening
 Nostalgic
 Language sounds different from middle

eastern songs
 Location/sand
#4 Idan Raichel Yemen
 Dreadlocks
 Headcovering
 Subtle harmony
 Modern context
 He looked invested—prayerful/spiritual
Listening #5Khandan: not music
 No instruments
 One male
 Ornamentation
 Improvisation
 No meter/no beat
Khandan or Musiqi WHY?
 Chordophone/instrument
 No language No singing No chanting
 Sounded complicated
 Metered—rhythmically organized