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zalzal
Oud Junkie
Posts: 747
Registered: 12-9-2005
Location: Nîmes France
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Mashalá!
Arabic, english, spanish, italian speaking video under sunny Jerez at Al Andalus.
The oudist is fm Chili, he was born in front of South Pacific ocean and he "brings the mediterranean tone" to the group...
http://www.youtube.com/watch?v=cu6ZnIOILbA&mode=related&sea...
I love the andalousian architecture which it's conceptualized to provide pleasure for all senses. It seems that even fruit trees were consciously
grown at hand's height only.
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excentrik
Oud Junkie
Posts: 291
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If you liked that- you should definitely check out Radio Tarifa- in my opinion, they are the most amazing andalusian/sephardi/arabi/flamenco band
there is. They are in Spain and I know the label they are on is pretty big, so it shouldn't be too hard to find-
"Temporal" is a good one, but the second one, "Rumba Argelina" is pure genius...
http://www.radiotarifa.com/ingles/index_ing.html
tarik
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kkeys
Oud Addict
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I hope to point out something, and I dont mean to attack any person of any background,,, please read to the end.
I think calling music Sephardic, or Klezmer,or.... linking it to the Jewish faith is Artificial.... I dont think there is such a thing.
Jewish people just like Muslim and Christian people lived in many parts of the world and their music and culture is a product of that nations.
An Iraqi Jew/ Muslim/ Christian plays Iraqi music,
An Egyptian Jew/ Muslim/ Christian willl play Egyptian music
An American Jew/ Muslim/ Christian will play American Music
you got the idea....
there is no such thing as christian music (Rock music if it is in the US and Arabic music if it is in Syria with religous text placed) or islamic
music either, it depends on the culture of that nation...
same as Andalucian music that was created at the Arabic/ Islamic civilization ira in Iberia, belongs to that civilization, if Jews happen to live
there included in that civilization so be it (It actually shows the tolerance of the Arabic/islamic civilization towards people of different faith).
and they happed to be called sephardic jews..... The music is Andalucian music (If you put Hebrew words in it it doesnt make it sephardic)
Since the creation of an artificial nation for the jews in Palestine about 60 years ago, there was a crave for an artificial music identity pertains
to a faith,,,.... that does not exist.
Can somebody name a Jewish instrument
Can somebody name a christian instrument
Can somebody name an Islamic instrument
And finally,
Can Somebody name an Israeli instrument...
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Marina
Oud Junkie
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Location: Bosnia
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| Quote: | | And finaly, Can Somebody name an Jewish instrument... |
Jew's harph?
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oudplayer
Oud Junkie
Posts: 849
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Location: new jersey/ Israel
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Rams horn
shofar lol used by jews in music
orginated by jews
we are lost camels in the desert and wanna find our way to water and the water is in aden
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will_oud
Oud Maniac
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Location: San Antonio Texas USA
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King David harp is an Israeli instrument.
William F. Sparks
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kkeys
Oud Addict
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1) The jewish harp sounds like a music instrument but it is a coil that sounds like vibration..
2) same thing goes for the shofar. please see the link
http://www.mid-east.com/Info/shofars.html
Quote: (This was never a folk instrument nor considered a classical instrument. It was, and is, a ceremonial item...........)
3) As for King Davids harp, is a HARP...a HARP and it was there before King David and before the jewish faith. see the link about the history
http://www.alisonvardy.com/harp-info/early-harp-history.htm
These instrument mentioned are there to prove my point... they are of a religous not cultural values.
4) I think a Yemeni jew should feel proud to play the oud because that is his culture... he just happen to be a jewish on that land.
5) Wouldn't you think it will be wiered if Marcel Khalifa claims that his music is Christian Maronite music...
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akram
Oud Junkie
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mashala mashala
very good i liked them
thank you
akram
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excentrik
Oud Junkie
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| Quote: | Originally posted by kkeys
And finally,
Can Somebody name an Israeli instrument... |
How about War?
tarik
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John Erlich
Oud Junkie
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OK kkeys...you're getting political here (in a way that clearly violates the spirit of this Forum) and your comments belie obvious political biases.
Maybe I should follow the examples of Marina and others and not take you seriously. But you are talking about my favorite topic: Jewish music.
The first thing you need to remember when discussing Jews and Judaism, especially in comparison to Christianity/Christians and Islam/Muslims, is that
Judaism is not a proselytizing faith. Judaism has not spread among different races and ethnicities to the extent that Christianity and Islam have.
The simplest explanation for this is that Jews don’t believe that we are doing someone a favor by converting them to Judaism.
The next thing you need to remember is that saying that something is “Jewish” is not necessarily to say that it is connected to the Jewish
religion, because Jewish peoplehood is such that even hardcore atheists can--and many do-- have a strong Jewish identification.
Whether or not it is appropriate to describe music as “Jewish” depends on the context in which the music is composed and performed and on the
content of the music.
It is true that we frequently encounter music that is described as “Jewish” that should not be. An example is the “Judeo-Arabe” recording
collections produced in France. These are North African singers of music in the Arabic language who happened to be Jewish. Describing the music of
Cheikh Raymond, Luc Cherki, Blond Blond, Rene Perez, Raoul Journo, Line Monty, Alice Fitoussi, Lili Boniche, Reinette L’Oranaise, Habiba Msika, El
Kahloaoui Tounsi, Maurice El Medioni, etc. as “Jewish” is not only questionable since it lacks specific Jewish form or content, but is arguably
racist.
However, there is typically nothing nefarious (and most certainly not “Zionist”) about this. Our local Algerian-Jewish DJ, “Cheb-i-Sabah”
(Serge ElBaz) who sells these recordings as “Judeo-Arabic” music is militantly anti-Zionist. It’s simply a marketing ploy, a way to sell
records, that’s all.
On the other hand, there are plenty of genres of music which are appropriately labeled “Jewish” because of lyrics in specifically Jewish languages
(Hebrew, Jewish Aramaic, Yiddish, Ladino, Judeo-Arabic, etc.), content (reference to specifically Jewish religious texts, history or persons), or
context (composed/performed by Jews for Jews).
Klezmer is Jewish music because it was composed/performed by Jews mostly for Jews, and when sung, was always sung in Yiddish, a specifically Jewish
language different for the spoken language of their non-Jewish neighbors.
Sephardic music is Jewish for precisely the same reasons (the language is called Ladino, Judezmo, Haketia, etc. and is different from Spanish).
In the Arab World, Jewish music was (past tense, since Jews [about 875,000] have been ethnically cleansed from the entire Arab World, other than
Casablanca in Morocco [5,000 Jews left] and Jerba in Tunisia [1,200 Jews left]) mostly religious music. It is Jewish because it was sung in Jewish
languages (Hebrew, Aramaic, Judeo-Arabic, etc.) and the texts were about Jewish religious beliefs. (This reflects that fact that Jews were
historically better integrated into Arab societies than European societies, at least until about the mid-19th Century.) Of course, Jews in the Arab
and Muslim world have been creating this music for hundreds, if not thousands, of years. I have a huge collection of this music and would be happy to
provide samples to anyone.
Similarly, it would be technically incorrect and arguably racist to describe Marcel Khalife’s music (at least all of his music that I’ve ever
heard) as “Maronite Christian” just because that’s his confessional community or heritage. However, it would be just as ridiculous to claim
that there is no such thing as Maronite Christian music. Music that contains Maronite Christian liturgy and/or is in a Maronite language (i.e., the
Maronite dialect of Syriac) is “Maronite Christian music.” You can sample some here: http://www.amazon.com/Chant-Traditionnel-Maronite/dp/B000027O5X/ref...
I apologize if my political comments above offend anyone. I want to be clear that my advocacy on behalf of Jews from Arab countries is not
anti-Palestinian. My point is simply that the Palestinians are not the only group in the Near East / North Africa with legitimate grievances. If
every oppressed group insisted on airing their grievances on this Forum, the Forum would collapse.
Peace,
John
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excentrik
Oud Junkie
Posts: 291
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John,
You are a very manipulative speaker. I commend you for that, but- I am in total agreement with kkeys.
Also, your point always seems to be that the Palestinians aren't the only ones in the Arab world with grievances.
Tarik
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Amos
Oud Junkie
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hey guys,
i rarely chime on this stuff, but i just want to say that i think we should keep the politics out of the forum. these clips were very beautiful, and i
was happy to see them. we as artists and aficionados do ourselves a disservice by bickering in a forum meant for appreciation of our beloved
instrument. i am sure there are thousands of forums intended for this type of conversation. let's keep it about the music.
amos
Our music is like an ocean...
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zalzal
Oud Junkie
Posts: 747
Registered: 12-9-2005
Location: Nîmes France
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no border, no nation, no deportation, no justice, no peace.
http://www.kalan.com/english/scripts/album/dispalbum.asp?id=3870
(Nothing to do, just a diversion)
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John Erlich
Oud Junkie
Posts: 1463
Registered: 8-26-2004
Location: California, USA
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Tarik,
If you mean that my arguments are cogent and persuasive, thank you! As far as my other point, if I say it often, it's because it needs to be said
often.
Thanks, Amos.
Peace,
John
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ALAMI
Oud Junkie
Posts: 643
Registered: 12-14-2006
Location: Beirut
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Hi John,
Let me start by saying that I usually read with great pleasure your posts and I hold a great esteem for your knowledge, your musical thoughts and your
humour.
I don't believe that the forum will collapse if sometimes (and I agree that they should be very rare)we face the fact that we are not musicians living
in a parallel dimension with no regard to our origins, cultures, problems ...and "grievances". We can talk to each others frankly and with respect, it
is a place where people are supposed to be open to "ethnic" cultures (and I am using a word "a la mode" that I don't like).
I am personally a "hardcore atheist" with a very strong muslim identification, add to this maronite and orthodox identifications all associated with
my being an arab (and consequently semite), I am from where I come from, culturally and socially speaking and this true regardless of spiritual
beliefs(or their lack). This is not a jewish particularity, it is simply human.
You accused kkeys comments of being "politically biased" ,and you're probably right, and I am sure that YOU are aware that he is reacting to a more
general strong, legitimate and justified, feeling of "cultural occupation" and it should be taken seriously and not just because you are sensible to
jewish music topic, and I respect (and learned from) what you wrote on the musical side of your post.
And sorry John, you commited exactly what you accused kkeys and tarik of doing by inserting (and in a very smart way) the insinuation : "have been
ethnically cleansed"...
John, were we living on the same planet since 1948 ?
I really don't want to go into this or being accused of being a "negationniste" (and as a french citizien I support the law that takes these guys to
trial and jail and I would like to see it extended to all massacre makers including arabs and israelis). I really want to know if you seriously
believe in what you wrote on this subject.
And yes I still prefer that guys like you could rule Israel and make that guys like kkeys could have a real state... a country
And yes I would like to hear clips of what you consider being jewish music and what is not with a detailed explanation of the differences.
And finally, it was a good laugh reading : "Jews don’t believe that we are doing someone a favor by converting them to Judaism". It is funny on
every "Level" of reading.
Friendly
alami
PS. Zalzal sould be promoted from chief of intelligence service to UN secretary general
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kkeys
Oud Addict
Posts: 40
Registered: 6-14-2006
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John,
Let me start by saying I enjoy your comments. and thank you for taking the time to participate.
((The first thing you need to remember when discussing Jews and Judaism, especially in comparison to Christianity/Christians and Islam/Muslims, is
that Judaism is not a proselytizing faith. Judaism has not spread among different races and ethnicities to the extent that Christianity and Islam
have)).
As far I know, I have met arabic, turkish, persian, american, russian, german, french, african, moroccan, north african, even filippino, and asian
jews... so it is spread amoung all ethnicities.
((The simplest explanation for this is that Jews don’t believe that we are doing someone a favor by converting them to Judaism.))
- And yes this statement is wiered
((The next thing you need to remember is that saying that something is “Jewish” is not necessarily to say that it is connected to the Jewish
religion, because Jewish peoplehood is such that even hardcore atheists can--and many do-- have a strong Jewish identification.))
- I agree...
((Whether or not it is appropriate to describe music as “Jewish” depends on the context in which the music is composed and performed and on the
content of the music.))
- If a music composed on an arabic maqam, and rhythm, by a jewish composer, then it is arabic music composed by a jewish composer. (unless he came up
with a jewish maqam and thythm not known to anybody)
((It is true that we frequently encounter music that is described as “Jewish” that should not be. An example is the “Judeo-Arabe” recording
collections produced in France. These are North African singers of music in the Arabic language who happened to be Jewish. Describing the music of
Cheikh Raymond, Luc Cherki, Blond Blond, Rene Perez, Raoul Journo, Line Monty, Alice Fitoussi, Lili Boniche, Reinette L’Oranaise, Habiba Msika, El
Kahloaoui Tounsi, Maurice El Medioni, etc. as “Jewish” is not only questionable since it lacks specific Jewish form or content, but is arguably
racist.))
-And that was the reason for my post in the first place
((On the other hand, there are plenty of genres of music which are appropriately labeled “Jewish” because of lyrics in specifically Jewish
languages (Hebrew, Jewish Aramaic, Yiddish, Ladino, Judeo-Arabic, etc.), content (reference to specifically Jewish religious texts, history or
persons), or context (composed/performed by Jews for Jews).))
- Musically speaking, If an arab made a RAP song and put arabic text in it, and played it for the arabs.... it is still RAP music not arabic.
((Klezmer is Jewish music because it was composed/performed by Jews mostly for Jews, and when sung, was always sung in Yiddish, a specifically Jewish
language different for the spoken language of their non-Jewish neighbors.))
-Klezmer music is southern european/ gypsy music that was lables as Klezmer. for me it sounds the same as hungarian/ romanian/ bulgarian gypsy
music..(With Yedish lyrics)
((In the Arab World, Jewish music was (past tense, since Jews [about 875,000] have been ethnically cleansed from the entire Arab World.))
Howcome there are palestinian/ syrian/ iraqi/ yemeni/Tunisian/ egyptian, turkish, iranian jews ????????
((Similarly, it would be technically incorrect and arguably racist to describe Marcel Khalife’s music (at least all of his music that I’ve ever
heard) as “Maronite Christian” .))
- And that is my friend my point, how I see jewish people calling the andalucian music sephardic,.... and so on.
- My last question is why isn't a Russian Jew feels proud of being russian and embrace his Russian culture...
- And why isn't the Syrian Jew feels proud of his culture like the christian syrian does...
I think I painfully know the Answer
Zalzal, thank you for the clip, it is beautiful to be all together in peace..... playing music...
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oudplayer
Oud Junkie
Posts: 849
Registered: 5-9-2004
Location: new jersey/ Israel
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hey guys
I just want to add a few things here. I read top to bottom so i am up to daye with everyone here and what they wrote.
((In the Arab World, Jewish music was (past tense, since Jews [about 875,000] have been ethnically cleansed from the entire Arab World.))
Howcome there are palestinian/ syrian/ iraqi/ yemeni/Tunisian/ egyptian, turkish, iranian jews ????????
Bra look 98% of all jews no longer live in arab lands. I am not sure if u read but about 3 weeks ago or about the jews of yemen town of sad'dia
that states get out of yr town and leave everythgin in yr house and flee away if not you will die . now they are still in sanna capital of yemen in
a hotel and they cant go back yet or who know id they have stuff waiting fo them back home. The interveiw stated by a yemeni muslim we dont see the
yahood as yahood we see them as yemeni and thats it .
so guys why cant we call be nice to each other pleaseeeeeee
about the whole why isn't the Syrian Jew feels proud of his culture like the christian syrian does
.
you make me laugh every time I read it bc oviscly you never been to a syrian community b4 they are so rich in customs and there kids do not forget
where they come from . go to brooklyn New york or deal new jersey or ect there are many towns like this.
If none of this make sence to you read it again and understadn where i am coming from. To this day it is not safe for any adani or yemeni jews to go
back to yemen I know people that tried and then got send rigth back on the plane.
I hope you take soemthing out of this
thx sammy
we are lost camels in the desert and wanna find our way to water and the water is in aden
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al-Halabi
Oud Junkie
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This discussion of music has unfortunately deteriorated into a lot of simplistic and misleading statements. When rich and complicated music cultures
are boiled down to banal definitions and when history is ignored we get simple and easy answers, but not very good ones. To take only one example: the
statement that Sephardi music is essentially Spanish Andalusian music, not anything distinctly Jewish. To say this is to assume that the Jews who left
Spain took with them a fixed repertoire of songs that they preserved over the centuries without change, and that they either added nothing to it or
whatever they added to it over time remained in the exact same mold of the original Spanish repertoire. But things didn’t happen that way. Most of
the Sephardi songs that came down to us were actually composed after the expulsion from Spain. Sephardi Jews living in Salonica, Izmir, Istanbul,
Sarajevo and other places composed hundreds of new songs in the following centuries. These songs often dealt with places and events connected with the
new settings of these Jews. They began to use Arab-Turkish makams, including those with microtonal intervals that were not part of the musical system
used in Spain. The lyrics included many new words that their Spanish language adopted from Turkish, Greek, and other languages of their surroundings.
People in Spain of the fifteenth century would have found many of these songs very different in style and intonation from their music, and even their
lyrics would not have been fully comprehensible because of all the foreign words and allusions.
Something new came into being that was not a simple carryover of fifteenth-century Spanish music into another region, but rather a blend of Spanish
and new musical elements that acquired a character of its own. This musical creation was the work of Jews, written in a language distinct to Jews, and
performed by Jewish musicians for Jewish audiences. That is why it is commonly identified, including by scholars, as Jewish. To deny the development
of a new repertoire among Sephardi Jews or the Jewish role in creating it runs against the facts. And the idea that a composition would be Jewish only
if it is in a distinctly Jewish maqam and rhythm not derived from any other music is also an interesting one. The Arabs in the medieval period adopted
many maqams from Persian music – the Persian names of so many modes are in use until today (Yegah, Rast, Segah, Chahargah, Shahnaz, and so on). Does
that mean that compositions by Arabs in these maqams are really Persian music?
I will stop here, although there are various other problematic statements. What could have been an interesting discussion of the interplay of music,
culture, history, and identity has ended up producing more heat than light.
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John Erlich
Oud Junkie
Posts: 1463
Registered: 8-26-2004
Location: California, USA
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All,
Nearly everyone who posts on this Forum has good information and ideas to share and I, too, appreciate you for that. I just wish we could be a bit
better about following the ground rules that make this Forum such a pleasure and a refuge.
My replies to selected comments:
“And sorry John, you commited exactly what you accused kkeys and tarik of doing by inserting (and in a very smart way) the insinuation : "have been
ethnically cleansed"... John, were we living on the same planet since 1948 ?” (Alami)
Alami, my point in inserting this in a “manipulative way” was to show how even one passing sentence on a controversial subject can cause a lot of
rancor on this Forum. The strong, emotional responses have proved my point. I don’t consider this topic appropriate for an Oud Forum and refuse to
violate this ground rule any more. Anyone who is interested in discussing the topic of Jews from Arab countries any further can send me a U2U and we
can exchange private e-mails.
“As far I know, I have met arabic, turkish, persian, american, russian, german, french, african, moroccan, north african, even filippino, and asian
jews... so it is spread amoung all ethnicities” (kkeys)
Kkeys, the vast majority of Jews fall into a few basic ethnic/cultural groups: Ashkenazi (Central & Eastern European), Sephardi (Jews with roots
in Spain and immediate ancestry mostly from Turkey, Greece and the Balkans, Holland, and Morocco), and Mizrahi (Jews with roots in Arab and Muslim
countries—the term is modern). There are other small communities who don’t fit into there 3 main groups (some Italian Jews, Ethiopian Jews,
etc.). People from outside these groups are few in number and are typically converts. The San Francisco Bay Area (California, USA) has HUGE numbers
of Filipinos and East Asians. The typical synagogue in this area has no more than a couple of Asian converts among the congregation. The exception
proves the rule. I am happy to recommend some good books on the subject (start with: http://www.amazon.com/Jewish-Cultural-Tapestry-International-Tradit... ). Contrast with Islam: This religion began among Arabs; today 80% of Muslims are non-Arabs. Islam is a proselytizing religion. When a Christian
or Muslim converts someone to his religion he is “saving” them; when a Jew converts someone to his religion, he is making him liable to follow 613
laws instead of just 7.
“How come there are palestinian/ syrian/ iraqi/ yemeni/Tunisian/ egyptian, turkish, iranian jews ?????” (kkeys)
I spoke of the ARAB world. Turkey (26,000 Jews) and Iran (35,000 Jews) are not Arab countries, and each has many more Jews today than the entire Arab
world (about 7,000 Jews). Arab countries other than Morocco and Tunisia have fewer than 100 Jews each. In the early 20th Century, Baghdad had more
Jews than any other ethnic or religious group. Today, there are virtually none and very, very few Iraqis under the age of 60 have ever met a Jew.
“Musically speaking, If an arab made a RAP song and put arabic text in it, and played it for the arabs.... it is still RAP music not arabic.”
(kkeys)
Ah! This is the heart of our disagreement! I totally disagree with you. As far as I’m concerned, rap in the Arabic language is legitimately
“Arabic music” (that is if any rap can be considered “music” rather than poetry). Even rap music by an Arab-American in English with a target
audience of non-Arabs could be legitimately considered “Arab” music if the subject matter is personal to the experience and culture of Arabs
(e.g., rap about personal experiences as Palestinians). I am not a professional ethnomusicologist, but I’ll bet my belief reflects the predominant
thinking among the professional academics. Your comment seems to me to reflect an untenable thesis that the “authentic” music of a culture is not
subject to change. This is observably false.
“Klezmer music is southern european/ gypsy music that was lables as Klezmer. for me it sounds the same as hungarian/ romanian/ bulgarian gypsy
music..(With Yedish lyrics).” (kkeys)
I simply disagree and find this statement rather bigoted. I don’t think that Klezmer music sounds the same as the other music listed. The musics
you list naturally have much in common, coming from the same region of the world. However, even if it were musically identical (and I doubt and
serious expert on Klezmer and Balkan musics would agree with you on that), the Yiddish lyrics are sufficient to define the music as “Jewish.”
“My last question is why isn't a Russian Jew feels proud of being russian and embrace his Russian culture...
- And why isn't the Syrian Jew feels proud of his culture like the christian syrian does...
I think I painfully know the Answer” (kkeys)
Jews from Russia and Syria are generally very proud of and generally do embrace their Russian and Syrian cultures. To the extent that Jews don’t
identify with the culture of the country their ancestors came from, you are incidentally correct that the answer is painful. In many times and
places—though not all times and places—to ask why the Jews don’t have a strong identity with the national culture is like asking a Arab from the
Galilee why he doesn’t feel proud of his culture as an “Israeli.”
Sammy:
I want to thank you for 2 things:
1) Thank you for speaking up (as a Yemenite Jew) on behalf of Jews from Arab countries in this thread;
2) Thank you also for showing sevlanut and NOT raising this highly contentious issue often whenever Israel/Palestine politics comes up in this
Forum.
Anyone who wants to discuss the political issues further via e-mail or share some music samples is welcome to U2U me.
And, finally, are there no Israelis or other Jews in this Forum who want to denounce me for referring to the Palestinians as “oppressed” and
having “legitimate grievances”??!!
Peace,
Udi John
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SamirCanada
Moderator
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Maybe you can shed some light onto this Halabi, As Iam going to take this discution back towards a more musical direction.
I read in a musical encyclopedia redacted in part by Dr. Scott Marcus on maronite music possesing its own maqam. Its called the maronite maqam in the
encyclopedia.
the link following is an example of a chant in this described maqam.
http://www.jesustheking.com/home/liturgy__music.htm
under Tarateel marounya
name of chant, ana el2om Elhazina
I wonder what influences this melody might have come from.
Thanks for your help.
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zalzal
Oud Junkie
Posts: 747
Registered: 12-9-2005
Location: Nîmes France
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Mood: still alive
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Thank you each one of you to have participated here.
Did you listened at the samples here?
http://www.kalan.com/english/scripts/album/dispalbum.asp?id=3870
Almost all songs starts by oud taqsims and this fantastic oudplayer fm the 1920th seems to be anonymous.
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ALAMI
Oud Junkie
Posts: 643
Registered: 12-14-2006
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Hi Samir, check this article (and its bibliography)
http://www.mari.org/JMS/january99/Maronite_Sacred_Music.htm
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jazzchiss
Oud Junkie
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Registered: 12-20-2004
Location: Madrid
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Hi, zalzal. Thank you for bringing up this video.
I met Lautaro Rosas about 20 years ago in a jazz seminar led by Chuck Israels and Thad Jones. He used to play the guitar with singer Maria del Mar
Bonet.
We all have changed a lot!
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SamirCanada
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Thanks Alami
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al-Halabi
Oud Junkie
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Samir, I don’t know the origins of the chant Ana al-umm al-hazina, but it might be a more recent composition influenced by Arab music. I am
suggesting this because (1) its melody follows the scale of Hijaz, which Hage tells us was rarely used in traditional Maronite music, and (2) the
melodic range of the song is an octave or almost an octave, while most traditional Maronite chants tend to be limited in melodic range to a fourth or
fifth.
Alami, thanks for the reference to the article by Louis Hage. He is the leading authority in the world on Maronite music. An expanded version of this
article appeared in the encyclopedia edited by Scott Marcus and others. According to Hage, the modal system of Maronite chant is distinct from the
Arab maqam system and also from the old system of eight modes (octoechos) found in Byzantine church music. It is an archaic system, with three basic
melodic modes based on short scales of usually a fourth or a fifth, each with its particular melodic patterns and formulas. The Maronite mode
therefore tends to be limited to one tetrachord or pentachord, whereas in Arab music maqams are made up of several tetrachords/pentachords strung
together to cover a range of up to two octaves. The narrow range explains the simple (and beautiful) melodies of Maronite chants. The Maronite tonal
system uses some microtones, although according to Hage notes that are slightly flattened are not really lowered by a quarter tone as in Arab music.
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