Relevant bibliographies by topics / Arabic musical scales

Academic literature on the topic 'Arabic musical scales'

Author: Grafiati
Published: 25 July 2024

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Journal articles on the topic "Arabic musical scales"

1

Ibrohimov, Oqilxon. "On the History of the Formation of Classic Maqoms." Uzbekistan: language and culture 3, no. 1 (March 10, 2021): 98–110. http://dx.doi.org/10.52773/tsuull.uzlc.2021.1/bcyn9498.

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Maqoms, which are classic examples of professional oral music, form an important part of the musical heritage of most of the Muslim peoples of the East. The Arabic term "maqom" denotes cycles of instrumental and vocal music, created on the basis of a combination of perfect scales and certain metro-rhythmic structures (usul). In order to better understand the content-semantic aspect of this kind of musical cycles, first of all, it is necessary to have a certain idea of the history of the origin and factors of the development of this art.The history of this ancient art can be divided into two main periods. The first period is characterized by the formation of intonational primary sources, because at that time there were no maqoms in the form in which we know them now. An important layer of these sources is the spiritual heritage of the great prophets, and another layer is associated with the ancient values of the musical creativity of the peoples of the East.
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2

Yahiaoui, Rashid, Marwa J. Aldous, and Ashraf Fattah. "The Impact of Image on Translation Decision-Making in Dubbing into Arabic – Premeditated Manipulation par Excellence: The Exodus Song as a Case Study." Open Cultural Studies 5, no. 1 (January 1, 2021): 66–80. http://dx.doi.org/10.1515/culture-2021-0004.

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Abstract The emblematic connotations and ideological values of images affect the way iconographic and visual codes are interpreted in dubbing. Religion, culture, and politics are all primary variables that communicate evaluative views of the world, but also impose pressure on the translator when they stand in conflict with his or her attitudinal positioning and ethical judgement. Thus, this article aims to examine how the interplay between iconographic and linguistic codes of the visual sign in the musical animation This Land is Mine impacts translational decision-making in dubbing into Arabic. Simultaneously, the aim of this article is to evaluate how religious, cultural, and ideological dissonances between source text and target audience result in acts of manipulation and negotiation of meaning in the target text that explicitly channels the voice of the translator. We employ a dual theoretical approach combining narrative theory and appraisal theory in order to evaluate patterns of manipulation within a scaled system to provide graded analysis that exposes the ideological stance and bias of the source text’s producer/animator in representing reality via visual narrative.
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3

"Approaches and Paradoxes of the Eight Byzantine Melodies and Arabic Maqams مقاربات ومفارقات في الألحان البيزنطية الثمانية والمقامات العربية*." المجلد14 العدد 1 عام 2021 14, no. 1 (April 2021): 15–34. http://dx.doi.org/10.47016/14.1.2.

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Abstract The music that originated in the Byzantine Empire in Constantinople is called Byzantine music and is based on eight main melodies. This study is intended to identify the similarities and differences between the eight Byzantine melodies and the Arab maqams. It also highlights the main characteristics of each type of the eight Byzantine melodies, inscribes some examples of them as Western music, and analyzes the genre combinations of Western music in the Byzantine musical composition. The study provides a general illustration of the stacks of the Byzantine melodies and their counterpart stacks in the Arab musical scales. The researcher analyzed the Arab musical scales and then analyzed all the Byzantine melodies with the corresponding scales in the Arabic music maqams for each of the eight Byzantine melodies. Keywords: Maqam, Musical scale, The main maqams in Arabic music, Ecclesiastical Greek Music, Byzantine ecclesiastical chants, Arabic Music, Races in Arabic Music, The Diatonic scale,The Chromatic scale, The enharmonic scale, Intervals of natural scale tones in Byzantine music. الملخص تسمى الموسيقا التي نشأت في الإمبراطورية البيزنطية في القسطنطينية بالموسيقا البيزنطية، وهي قائمة على ثمانية ألحان رئيسية، جاء هذا البحث لتحديد أوجه التشابه والاختلاف بين الألحان البيزنطيّة الثّمانية والمقامات العربيّة، وتسليط الضّوء على النّقاط الرّئيسة المميّزة لكل نوع من الألحان البيزنطيّة الثّمانية، وتدوين بعض نماذج من الألحان البيزنطيّة الثّمانية، تدوينًا موسيقيًا غربيًا والعمل على تحليلها؛ لبيان تراكيب الأجناس في التّأليف الموسيقي البيزنطي. تناول البحث توضيحًا عامًا للكومات في الألحان البيزنطيّة وما يقابلها من الكومات في مقامات الموسيقا العربيّة، وقامت الباحثة بتحليل السّلالم الموسيقيّة للالحان البيزنطية وما يقابلها من سلالم مقامات الموسيقا العربية وتحليل كل لحن من الألحان البيزنطيّة الثّمانية الكلمات المفتاحية: المقام، السّلم الموسيقي، المقامات الرّئيسيّة في الموسيقا العربيّة، الموسيقا الكنسيّة اليونانيّة، الأناشيد الكنسيّة البيزنطيّة، الموسيقا العربيّة، الأجناس في الموسيقا العربيّة، السّلم الذياتوني (الرّجلي)، السّلم الكروماتي (الملّون)، السّلم الأنرموني (الرّخيم)، أبعاد نغمات السلم الطّبيعي في الموسيقا البيزنطيّة.
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4

Sukkarie, Haitham. "Orchestral for Arabic Instrumental Forms Sama’e as a Model." An-Najah University Journal for Research - B (Humanities), November 2014, 2641–74. http://dx.doi.org/10.35552/0247-028-011-007.

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Arabic music is characterized by a variety of melodies and a lot of modes, While Western music is characterized by richness of Harmony and Orchestration in two scales (Major and Minor), most of Arabs National composers combined Oriental and western music together by utilizing theories of harmony and counter point to enrich the music of East and present it in a new style Commensurate with the audience high taste. Although there are a large number of orchestral works for Arab composers, but the Majority was in western forms, this contrasts with the principles for the school of nationalism which relied on the use of local styles, Arabic musical composing forms not less important than western if we use it correctly to save the balance between the Modernity and originality. تتميز الموسيقى العربية بتنوع ألحانها ومقاماتها الكثيرة بينما تتميز الموسيقى الغربية بثراء الهارموني والتوزيع الآلي في حدود سلمين (الكبير والصغير)، ولقد اتجه العديد من المؤلفين القوميين العرب الى دمج الموسيقى العربية بالغربية من خلال الإستفادة من علوم الهارموني والكنتربوينت بهدف إثراء الموسيقى الشرقية وتقديمها بحلّه تتناسب مع أصحاب الذوق الرفيع ، وبارغم من وجود عدد كبير من مؤلفات عربية أوركسترالية إلا ان غالبيتها كتبت في قوالب التأليف الغربية ، وهذا يتناقض مع مباديء المدرسة القومية التي اعتمدت على استخدام ملامح محلية تبرز الهوية ، فقوالب التأليف العربية لا تقل في أهميتها عن الغربية اذا تم استخدامها بالشكل الذي يحقق التوازن بين الحداثة والأصالة.
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Books on the topic "Arabic musical scales"

1

Powers, Cameron. Arabic musical scales: Basic maqam teachings. Boulder, Colo: G.L. Designs, 2005.

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2

Cameron, Powers, ed. Arabic musical scales: Basic maqam teachings. Boulder, Colo: G.L. Designs, 2005.

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3

Farjānī, Miftāḥ Suwaysī. Maqāmāt al-mūsīqā al-ʻArabīyah: Dirāsah taḥlīlīyah. Miṣrātah, al-Jamāhīrīyah al-ʻArabīyah al-Lībīyah al-Shaʻbīyah al-Ishtirākīyah al-ʻUẓmá: al-Dār al-Jamāhīrīyah lil-Nashr wa-al-Tawzīʻ wa-al-Iʻlān, 1986.

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4

Farjānī, Miftāḥ Suwaysī. Maqāmāt al-mūsīqā al-ʻArabīyah: Dirāsah taḥlīlīyah. Miṣrātah, al-Jamāhīrīyah al-ʻArabīyah al-Lībīyah al-Shaʻbīyah al-Ishtirākīyah al-ʻUẓmá: al-Dār al-Jamāhīrīyah, 1986.

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5

Amīr, Sālim Ḥusayn. Dalīl salālim al-maqāmāt al-ʻArabīyah. Aʻẓamīyah, Baghdād, al-ʻIrāq: Dār al-Shuʼūn al-Thaqāfīyah al-ʻĀmmah, Wizārat al-Thaqāfah wa-al-Iʻlām, 1986.

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6

The Maqām book: A doorway to Arab scales and modes. Kfar Sava, Israel: Or-tav, 2010.

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7

Théories de l'échelle et pratiques mélodiques chez les Arabes: L'échelle générale et les genres : Théories gréco-arabes de Kindī, IXe siècle à Tūsī, XIIIe siècle : une approche systématique et diachronique. Paris: Geuthner, 2010.

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8

Jürgen, Elsner, and Jähnichen Gisa, eds. Intercultural comparison of maqām and related phenomena: Proceedings of the fifth meeting of the ICTM Study Group "maqām", Samarkand, 26-30 August 2001. Berlin: Trafo, 2008.

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9

Powers, Cameron. Arabic Musical Scales: Basic Maqam Teachings (without CD's). GL Design, 2006.

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10

The Tree of Arabic Music Scales (Incl. CD): شجرة سلالم الموسيقى العربية. Germany: Al-Regeb Music, 2006.

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