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On this page you will find a brief description of Middle Eastern music, including a historical perspective, maqam theory, distinguishing characteristics, and some background on the instruments that we play.
Middle Eastern Music
Upon first hearing Middle Eastern music, many people are struck by the exotic sound of the music, which to Western ears may sound out of key. In this we are not alone, as orientalist Villoteau, an early visitor to the Middle East, describes it thus: "Accustomed since early youth to the best works of our composers, I had to tolerate music that rent my ears with its eccentric modulations and ornaments executed by harsh nasal voices, accompanied by instruments either penetrating and discordant, or feeble and muffled. Such were the first impressions". In speaking of Coptic music, Villoteau says: "If the Egyptian songs disturbed us, those of the Copts rasped us even more". What makes the music sound this way?
A Historical Perspective
The theory of Arabic music stretches back a long time. It grew from Persian
music theory, which the Arabs adopted and developed to suit their tastes after
invading Persia in the 7 century. Music historians consider Arabic art music
to have reached a high point in Baghdad and Damascus in the 8th century, after
which a period of decay set in. Fortunately the music did not die, as it traveled
to the Spanish peninsula, which was at that time ruled by the Moors, and the
music thrived there, from the 9th to 15th centuries. Still later, during the
Ottoman Empire, the music went through another golden period. Many compositions
from this time exist to the current day.
During the late 18th and early 19th centuries, Arab society went through a period of modernization and westernization that influenced their music as well. Music experts of the time attempted to standardize and simplify the music theory, which until that time had been an oral tradition, taught from master to student without the assistance of a written notation.
Maqam Theory
The music
theory used in the Middle East is known as maqam theory. A maqam (plural
maqamat) is like a scale or mode in Western theory, but has some extra rules or
conventions added on. Each maqam has it's own feeling. Some common maqamat are:
hijaz; nahawand; rast; bayate and sabah. Often compositions were simply named by
the maqam and type of piece, eg nahawand taksim (improvisation in nahawand),
hijaz chiftetelli (slow dance in hijaz maqam), etc.
Distinguishing Characteristics of Middle Eastern
Music
What makes Middle Eastern music
different? Some factors include the use of micro-tones, absence of chords or
harmony, the distinctive rhythms used, and use of improvisation.
Use of micro-tones: In Western music, notes in a scale are whole steps or half steps apart, e.g. the difference between and F and F sharp is a half step, and the distance between and F and G is a whole step. Middle Eastern music uses more notes. The Arabic and Turkish theories differ somewhat here. The Arabic theory breaks each whole step into 4 even divisions
Absence of chords or harmony: possibly because of the micro-tones mentioned above, the use of chords and harmony did not appear in Middle Eastern music until quite recently, when they were adopted from Western music, along with accordions, synthesizers, drum machines etc. Instead, each musician would play the same basic melody line, but would add his or her own ornaments and embellishments to fill in the melody. Even today, when the music is written down, only the basic melody is written, and the musician is expected to "personalize" it with his or her own embellishments.
Distinctive rhythms: The syncopated rhythms are part of what makes this music so exciting. Each rhythm has its own name (sometimes several!), the origins of which have been lost over the ages in some cases. As with the melody, however, the percussionist is expected to add fills and flourishes, while retaining the basic accents of the rhythm.
Improvisation: Improvisation is highly prized in Middle
Eastern music, and in addition to the small flourishes added to the melody line,
songs will often be preceded by an improvised section with no accompanying
rhythm, or may have an improvised section within the piece, played to the same
or perhaps a different rhythm. These improvised sections are known as "taksims".
In a taksim, a musician shows off their skills in playing their instrument, as
well as their understanding of the musical theory, as a taksim is expected to
express one or more maqam.
Qanun (also spelled "kanun", "kanoon", "qanoon") - A member of the zither family of instruments, the kanun (also spelled 'qanun') is plucked with 2 rectangular picks which are attached to the index fingers with metal rings. It has 76 strings in courses of 3, and is widely used in Arabic, Turkish & Greek music.
Darabuka - Also known as the Egyptian tabla, doumbek, and a host of other names, this goblet shaped drum is ubiquitous in Middle Eastern music
Ney (nai, nay) - An end-blown bamboo flute with a beautiful breathy sound. Found in Turkish, Persian & Arabic music. The examples pictured are Arabic neys. Turkish neys are characterised by a UFO-shaped mouthpiece, known as the "bushparde".
Oud - A fretless lute used throughout the Middle East. It
originated in ancient Persia, and became popular with the Arabs, who took it
with them to Spain during the time of Moorish Andalucia. From there it was
adopted by musicians of the west, who called it the lute, a name derived from
the Arabic name “Al 'Ud”.