Professional Documents
Culture Documents
Editorial Board:
Bentley
University of Hawaii
Thomas A. Brady
University of Califurnia,
Timothy Brook
University of British
University of Minnesota
Mansur Sefatgol
Ottoman Era
lerry H.
Berkeley
Columbia
Luca Codignola
Universitd di Genova
University of Tehran
|ames D. Tracy
University of Minnesota
f osefi na Zor aida Visquez
El Colegio de Mdxico
Anthony Grafton
Princeton (lniversity
Tamar Herzog
Stanford University
Edited by
|ane Hathaway
Titles in Series
l. calvin
B. Kendall,
nEME
11
Ottoman Musical
ForffrS:
The Samat, Basbraf and Longa in the
Arab Vorld and Beyond
Koy Hardy Campbell
252 _
fully
and appreciate.
and woven among the repetitions of the tasltm are four sections
called khanat (singular, khana). Each khana explores the maqdm
(plural, maqamat), that is, the mode or scale, in which the piece is
composed. Each of these forms has a rhythm that distinguishes it
from the others.
Many bashraf compositions are documented in the first written collections of music in the central ottoman lands by ,Ali Ufki
Bey in 1650 and Dimitrie cantemir in 1700.' with its stately 4/4based rhythms, the bashraf became an integral part of ottoman
musical life. It was played in the courtly vocalfa;/, or composition;
in the purely instrumentalfasl; by the mehter (military band); in
the synagogues, which used sung bashraf melodies with Hebrew
texts; and in the Mevlevi ritual known as ayin.2 over the centuries,
its rhythmic cycles grew longer, allowing its melodic lines to take
on greate r density. By the close of the ottoman era, the bashraf s
rhythmic cycles had stretched to include 20/4,28/4,3214 and even
156/4.1
The longa, a secular genre said to have originated in the Balkans as a dance form, typically has a lively 214 rhythm. The sama(t
form evolved from Sufi ritual, eventually finding its way into the
secular music of the ottoman court and the ensembles of Egypt
and the Levant. over the centuries, the rhythm and compositional
253
7,5
LANDS rN THE
orroMAN
ERA
we know from early recordings and western-style musical notation that by the early twentieth century, Arab musicians had altered
these ottoman forms to their own tastes. Stylistically, Arab musicians tend to play the maqamat differently from Turks. They play
microtonal intervals, such as E half-flat, with less subtlety, so that
the distance between E flat and E half-flat might be much larger
than when a classical Turkish musician plays the same note, depending on the maqan within which it is played. These differences are
vived in the Arab world. First, they were three of only a handful of
purely instrumental genres being played in Egypt and the Levant
at the close of the Ottoman era. Second, during the twentieth century, they were safely marginalized while mainstream Arab composers and musicians experimented with new forms and foreign
influences. Even though they were on the sidelines, musicians still
played these forms because they presented challenges to music students, performers, and composers. Further, admired compositions
in these genres are believed to encapsulate the knowledge and aesthetics of the complex maqdm system on which Middle Eastern
music is based. Finally, and perhaps most importantly, musicians
who want to learn to improvise use these pieces to help them learn
how to play a credible improvisation, or taqstm. The art of taqslm
is one of the fundamental elements of Middle Eastern music and
one of the most difficult things to learn. A good sama't or bashraf
shows musicians the path to taqstm.
PAUCITY OF PURETY INSTRUMENTAL PIECES
There are relatively few purely instrumental genres from the Ottoman period that survive on paper notation and in early recordings
in Egypt and the Levant. Only two other instrumental genres were
being played at the time: the very short dulAb and the Egyptian
tahmlla. Musicians in the Persian, or Arabian, Gulf, North Africa,
256 _
and Mesopotamia have their own indigenous instrumental musical forms that they weave into musical suites combining vocal
and instrumental pieces. Musicians in the Levant and Egypt, however, use these Ottoman forms in their musical suite known as the
wasla.
ing in the form of the long song or poem (qa;rda) for large orchestral performances with famous vocalists such as umm Kulthum,
Asmahan, and 'Abd al-Halim Hafiz. Musical theater and film also
called for new forms of instrumental and vocal music. As a result,
the longa, the bashraf, and the samd(l were relegated to the con-
servatory, the salons of the connoisseurs, and the composers' studios. Purists played the old repertoire. others wrote new pieces in
the old genres. In this w&y, the forms were preserved even while
mainstream Arab musical life constantly experimented with western
influences and new forms.rr Even so, as these forms were relegated
to the safe sidelines, each had a slightly different fate in the Arab
world as the decades of the twentieth century progressed.
257
25
orroMAN
l9l3)
ERA
has one.r5
259
260 :
cAL FoRMs:261
that they taught to their students and performed for their own audiences.
several
unfolds a maqam....
MODERN INNOVATIONS
26? :'
his basharif. Charbel Rouhana also likes to use harmony, and has
introduced accordion and bass to his compositions. Kareem Roustom has notated places in his sama(l-scores where performers must
improvise. Alan Bardezbanian has written a longa with five khanat.
It should be noted that these innovative trends are also found among
leading Turkish composers of the contemporary period, such as
Cinugen Tanrrkorur.
Many young Arab composers are abandoning the old Ottoman
forms. Charbel Rouhana teaches 'ud at the Lebanese National Conservatory and the Holy Spirit University of Kaslik in Jounieh, Lebanon.
by tbrahim al-'Aryan. After an original introduction in l0/8, "Forward" moves into a jazz-llke section and then experiments with
electronic vocal music before returning to repeat the tasltm at the
end.re
263
tion, scholars and educators see intrinsic value in them. They cite
the unique combination of form and substance as an accessible
gateway to efficient learning, better performance, improvisation,
and composition, all within the maqan system.
CAPSULES OF MAQAM KNOWLEDGE
2.64
orroMAN
ERA
BRIDGE TO TAQS'M
I was told the classic statement is, "If you want to learn
how to do taqsrm, you have to learn ten pieces in that
maqdm." The other side of it is, "you can't do any of
those pieces
Dr. Robert Labaree, who is particularly interested in the practice of composition and performance within the maqam system,
believes the rondo format is persistent because it allows for efficient composition and gives performers leeway to add expression
to every performance.
266
orroMAN
ERA
united States, Middle Eastern music ensembles have been established at Boston's Berklee School of Music, Bowdoin College, Brown
university, california Polytechnic State University, Harvard University, Tufts University, UCLA, the university of california-santa
Barbara, the University of Chicago, The University of Texas at Austin, and william and Mary college, with more formed each year.z2
while most of these groups focus on Arab music, they also explore
Turkish music.23 These three instrumental forms are usually played
in the recitals of these groups, bringing them to new audiences.
The internet is also spreading knowledge about the forms, the
maqam system, and aesthetic practice. Hundreds of websites about
Middle Eastern music and several Middle Eastern music discussion groups have sprung up in English in the last ten years. Recordings and sheet music of Arabic and Turkish samactyat, basharif,
and longas are readily available online.2a Comprehensive archival
recordings of the early twentieth century from both the Turkish and
Arab traditions have been made widely available and are appearing on the shelves of young musicians, as well as major libraries
around the world.
Leading Arab musicians such as Simon Shaheen and Dr. Ati
Jihad Racy perform these genres and discuss them in their concerts, bringing the concepts of the maqdrn system and the rondo
forms to new audiences. other educational efforts, such as the
Arabic Music Retreat at Mount Holyoke college and the Middle Eastern Music and Dance camp in Mendocino, califorinia,
teach sama( fyat, basharif, and longas to students from all over
the world.
outside of academia, mainstream musicians such as Sting and
Carlos Santana have produced recordings with Arab musical stars,
bringing the sound of Middle Eastern instruments and rhythms to
the mass media. As a result of all this, the world's ear is begin-
IAL
FORtr.tS
-=
267
This raises questions about the future of the Ottoman instrumental forms. Will musicians in the Middle East abandon these
maqam-laden gems? Will they continue to be marginalized, far
from the musical mainstream in the Middle East and the rest of the
world? Will the practice of composition in these rondo forms, interpretive performances, and improvisation be lost? Will the knowledge of the maqamdt become watered down or fall into disuse? Or
will they take root on new continents and evolve in new ways?
Dr. Robert Labaree believes the last-mentioned possibility is
already becoming a reality.
It's an incredibly powerful tool. It has an immense legacy, so it's a bottomless pit of source that you can always
go to and drink and get renewed. It has enormous applications in polyphonic settings, in electronic settings,
in pop music, in symphonic music of all kinds that we
don't even know. I see it as a tool, a technology, and I
don't see any reason why it can't survive.
ERA
a different way.
Time
will tell
will
be regarded
Endnotes
l.
2. Ibid., 3t4-t5.
3. Ibid., 330-31.
4. Ibid., 465-66.
5. Ali Jihad Racy, Making Music in the Arab ll'orld:
6.
A r t is
World (forthcoming), p. 2.
7.
8.
9.
Ibid.,5.
The first four notes, or the jins, of the maqam of hUaz on D, for example, are written in Arab notation as D, E-flat, F-sharp, G. However, if
it is played that way, it does not sound authentic to a discerning listener. Experienced musicians raise the E-flat slightly and lower the Fsharp slightly to shorten the interval between the two notes. Arab musicians term the "as written" l.tijaz "Hollywood Hijaz" since it can be
heard in western-composed imitations of Arab music in film scores.
10.
ll.
27 O
t2.
orroMAN
ERA
Marcel Khalife has written basharif in ftijaz kar kurd, rallat al-arwah,
and jaharkah- For the scores, see Khalifeh, Oud (Beirut, 1997).
Interview Sublects
13.
t4.
20-
will involve not only direction, but returning to specific tones, prolonging of these or other tones, and deviating from the basic scale in
predetermined ways."
21. Ibid-, 466; also Racy, Making Music in the Arab world,102-.03.
22. Robert Tuttle, 'An unusual campus Love Story," Christian science
Monitor,l2 April 2005, 12.
24-
271
Alan
Shav ar sh
ardezb anian
Discography
Oud Masterpieces front Armenia, Turkey and the Middle Easf. ARC Music,
2007.
ReOrientalism: The Near East Lives Next Door. Cultural Exchange Discs,
2003.
From Kef to Classical: Alan Shavarsh Bardezbanian and His Middle Eastern Ensemble. Cultural Exchange Discs, 2002.
An ethnomusicologist, composer, and performer on the Qeng, or classical Ottoman harp, Dr. Labaree serves as Chair of History and Musicology at Boston's New England Conservatory. He is also the founder
and chair of NEC's Intercultural Institute, and is a co-founder of Diinyo
(World). He has performed Ottoman classical music extensively in Turkey and in the United States, and is a founding member of the EurAsia
Ensemble. He has composed several pieces in the traditional peSrev and
sdz sema) | genres.
Discography
For
For Us the
AIi
Come See Whot Love Has Done to Me (Gel Gdr Beni ASk Ney,ledi) (with Di.inya).
Recorded live, 14 February 2005, at Jordan Hall, New England Conservatory,
Boston. Dtinya, Inc., 2005.
Qengnagme [Book of the Qeng]. Kalan, 2001 .
Eski Dilnya ile Sohbet (Conversations with the OId llttorld) (with the EurAsia En-
semble). N.d.
Boston Sema. 1998.
.
27 2 _
Artistry of larab
(see Bibliography).
Discography
Mystical Legacies. Lyrichord Discs, 1997.
Ancient Egypt. Lyrichord Discs, 1993.
Taqasim:
1993.
Koreem Roustom
Discography
Revival (with the Sharq Ensemble). Xauen Music, 2006.
The Songs of Sayyed Darweesh: The Soul of a People (with the Chicago Classical Oriental Ensemble). Xauen Music, 2006.
A Mediterraneon Christmas: Songs of Celebration from Spain, Provence, ItaIy, and the Middle East (with the Boston Camerata, Joel Cohen, conductor).
Warner Brothers Classics, 2005.
Almitrab Question (with El-Zafeer Ensemble). Fuller Street Music, 2004.
Charbel Rouhana
Discography
Discography
For
AP<C
Vice Versa-
For Us the
Roses
The
as
come see what Love Has Done to Me (Gel Gr;r Beni Ask Neyledi) (with Dtinya).
Recorded live, 14 February 2005, at Jordan Hall, New England Conservatory
Boston. Diinya, Inc., 2005.
Asitane [another name for the Ottoman capital] (with the group Audiofact). Aura
Records
Miizik, 2003.
Simon Shaheen
Mr. Shaheen is a virtuoso on both cud and violin. He is a well-known composer and recording artist and tours frequently with his two ensembles,
the Near East Music Ensemble and Qantara. ln addition to a demanding tour schedule, he lectures at colleges and universities around the
United States and Europe. He founded and serves as the Executive and
Artistic Director of the Arabic Music Retreat. His website is www.
Bibliography
Primary Sources
Admiralty of Great Britain. A Handbook of Syria, including Palestine. London,
1920.
simonshaheen.com.
Discography
Turath [Heritage]: Masterworks of the Middle Easr. Times Square Records,
2002.
Blue Flame. Ark 21,2001.
Saltanah [Sultanate] (with Vishwa Moham Bhatr). water Lily Acoustics, 1997.
The Music of Mohamed Abdel Wahab.Axiom, 1990.
Agrefenii. "Khozhdenie arkhimandrita Agrefeniia obiteli Presviatoi Bogoroditsy'1 [The journey of Archimandrite Agrefenii of the Monastery of the Most
Holy Blessed Virgin]. Pravoslavnyi palestinskii sbornik [Orthodox Palestinian collectionl vol. 16, issue 3 (1896).
Ahmed Qelebi ibn'Abd al-Ghani. Aw/al.t al-isharat Ji man tawalla Mi;r alQahira min al-wuzard' wa-al-bashat [The clearest signs: The ministers and
pashas who governed Cairo], edited by A.A.'Abd al-Rahim. Cairo, 1978.
Alberi, Eugenio, ed. Le Relazioni degli ambasciatori veneti al senato.3 series,
I
Gregory White
Mr. white is a performer on the'ud, guitar, and piano. He is also pursuing a doctorate in medieval Islamic and Jewish Studies at Harvard University. He performed on (ud with the Harvard Middle Eastern Music
Ensemble and debuted his first composed sarna(i(in hiia4 at the 2005
Arabic Music Retreat's Open Mike Night.
'Ali
tingen, 1943,137-58.
Anonymous. Kifib-i Tevartl.t-i Mryr-t Sahire-yi Ha{t-r Hasan PaSa lThe book of
the history of Cairo in the calligraphy of Hasan Pashal. Siileymaniye Library
(lstanbul), MS Hacr Mahmud Efendi 48.
Anonymous. Muntaza' min Badf al-akhb-ar [Extract from The wondrous events).
Manuscript copy in the private collection of Samer Traboulsi.
Al-Ayvansarayi,Hafiz Htiseyin. The Garden of the Mosques: Hafiz Hilseyin alAyvansaraltf 's Guide to the Muslim Monuments of Ottoman Istanbul, translated and annotated by Howard Crane. Leiden, 2000.
Ji a'ydn
madhhab'dlim al-Madtna [The precious rubies: Notables of the rite of the
scholar of Medina (i.e., M-alik)1. Cairo, 1906.
Barkan, Omer Lutfi, ed. "Mtstr Kanunndmesi" [Egypt's Legal Code]. ln XV ve
XVIma Asrlarda Osmanh imparatorlu{u Zirat Ekonominin Hukukt ve Mali
Esaslart [Legal and fiscal foundations of the Ottoman Empire's agricultural
economy in the fifteenth and sixteenth centuries], edited by Omer Lutfi Barkan. Istanbul University Faculty of Literature Publications, No. 256. Vol. I:
Kanunlar [Laws]. Istanbul, 1943, chapter 105.
Bagbakanhk Ottoman Archives (Istanbul). Maliyeden Mi.idevver [Finance otfice
Al-Azhari, Muhammad al-Bashir al-Zafir. Al-Yawaqlt al-thamfna
Bagbakanhk Ottoman Archives (Istanbul). Mtihimme Defteri [Register of important affairs] l, no. 1667;2, no. 612;2,no.905;2, no. 955; 2,no.1042;2,no.
07 ;
6, no.
7I
0; 7, no. 37 0; 7, no. 721 ; 25, no. 260; 26, no. 780; 27, no.
275