joseph
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The nature of Arabic music
Hi,
A while back I started this article on this forum http://www.mikeouds.com/messageboard/viewthread.php?tid=7057#pid435... The discussion that followed was much more informative than my musings on the topic, so I'm hoping that I can at least simulate some thinking on
this, but this time by focusing the subject on the oud and its learning.
The example that I will use to illustrate a certain attitude to the adoption of a Western approach in instrument education, to the learning of the
oud, is the excellent series “The oud (Modern Method)” by Charbel Rouhana. Before I get to this topic, I just want to mention something which some
may think is trivial, but that I find a little irritating in my edition of these books. The pages of music will not stay up easily on a music stand,
unless they are clipped into position. I don't think that such binding method is suitable for music instruction books, and I wish that Arabic music
publishers would consider this in the future.
The influence of a Western style of teaching a musical instrument is evident throughout, and is different to most oud Methods that I've seen before
even from the same Lebanese Conservatory, for example the also excellent series of books that I have and love by George Farah. Rouhana's approach
looks more similar to the first oud book I have by Fouad Awad also from the Lebanese conservatory (Rules of playing the oud – 1982). Unfortunately I
only have the first book of Awad's serries , so I don't know how he develops his approach.
The differences in Rouhana's approach, say in contrast to George Farah, are first in the much more detailed adding of many particulars such as
dynamics, finger positions, the direction of the plectrum movement (These are not used throughout the series), metronome setting, and so on. George
Farah leaves all these details out, and I don't think it is out of laziness or inattention to detail. George Farah was probably following the more
traditional approach where Western adopted music notation is only a framework, and the many missing details of the piece of performance, are left for
the performer and student to work out. Perhaps more controversial, than the addition of dynamic markings, is the additions of trills and even chords
in some pieces. Although trills and occasional chords are a part of Arabic music practice, it is not common to add them in writing to what the
composer wrote, because this implies that they are part of the original piece, rather than the ornamentation that is expected to be varied by
performance.
The second difference is in the systematic treatment right from the start, of different finger positions and position shifts. George Farah in contrast
does not talk about finger positions at all, until later in the series, and then he offers only one position as the preferred one to adopt. Again, I
think Farah probably thinks that is something that is best left for the teacher and student to work out.
The third and perhaps the most radical difference is in the delay of the introduction of Arabic maqams containing medium intervals (Neither tone nor
semi-tone but more like three-quarter tone) . I shall translate the author's justification of this :
“ I did not wish to introduce Eastern maqams which contain quarter tone alterations until part 4 and above. This was done, so that the student -
after three years of plectrum practice, and the practice of some scales, and various rhythms - is ready to play bashrafs, semais, and longas that
contain quarter tone alterations, with the required feeling. The basis of these maqams - as is well known - lies in their internal spirit, which will
not appear clearly, until an acceptable level of technical ability on the oud has been reached. “ [ Page 19, Part 1 of The oud (A new method)].
The last difference that is worth mentioning is the addition of a high f string than the low C string used in Farah's book.
Most of these changes that Rouhana introduced , are no doubt, helpful for learning, when it is not possible to have regular lessons, and a teacher is
available to supply the missing details. They have, and continue to be useful in my learning. The approach however, leaves me with some questions. Is
it correct for example, to alter these pieces from what their original authors intended, and not at least identify the alterations or the added
ornamentations. The original composers, could have added these details had they wished, but they chose not to, so should we not at least have as
readers, the original pieces as well for contrast, or at least a reference to where they are published closer to the original form? The original
pieces, which I presume is what George Farah's book has, have also an advantage, in that they let the amateur musician, focus on the structure of the
piece, at the learning stage, although it leaves him with no suggestions on how to improvise on it, once he has learnt it.
Also, In Western music education, it makes sense to have the major scale, as the foundation for learning, and not have other scales introduced until
it is mastered. A significant proportion of Western music, is written using the major scale, and the scale forms the foundation of harmony. In Arabic
music, however, a major scale that can be played on the piano, is not often used, and minor scales and maqams that contain medium intervals such as
rast and bayati are far more common.
So is it right to introduce learning on an Arabic music instrument, putting a strong emphasis on a scale that is in practice rarely used?
I think the answer is yes, but is a qualified yes, and depends on another question that I cannot answer. The answer is yes, if for example, you think
of rast as just a C major scale with such just a different temperament, and of nahanwand as a C minor scale, and of bayatti as a D minor scale but
with a different accent or feeling or temperament whatever you like to call it. In another word, the answer is yes, if Arabic music, as exotic or
different as it may sound, is really not all that different from Western music after all, and the foundations are the same, or at least the
similarities are much more important than the differences.
I don't wish to misquote Rouhana here, but I think it is fair to say that the assumption of some similarities and a common foundation between Arabic
music and Western music is implicit in his adopted approach.
I don't think this approach is universally acceptable in the Arabic music world. I'm sure that many more traditionalist musicians would disagree . I
think they would argue that Arabic music has such a completely different aesthetics that transferring Western methods of music education to it may not
work.
I know that there is an awful generalisation in how I'm explaining this issue, lumping Arabic and Western music into two big blocks like this, but I
think the problem is real, and it is not purely academic but is reflected in how we practice, so it is worth thinking about.
For example, a traditionalist would argue that playing C major scales and exercises, would help you learn how to move on the oud, but will not teach
you much about Arabic music, and you are much better off immersing yourself in Arabic music and its sounds, and to learn maqams and improvisations
preferably by ear from a teacher that you see regularly. A more modern approach, would put the emphasis on skills that are learnt in Western classical
music education, such as the ability to read music, and follow instructions precisely, and on technical mastery of the instrument.
I know that none of us are purely either one of the other of these two extremes that I exaggerated to illustrate the difference. I know we mostly
balance the two, but I still think that our answer to the question of the nature of Arabic music, and the similarity with Western music, is important
even when done subconsciously, in that it influences how we place the balance and emphasis in our practice and the learning of the oud and Arabic
music.
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eliot
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To even assert that a "scale" (regardless of the notes selected) was important in pre-1930s Arab music is to impose Western theory and pedagogy on an
unrelated musical system!
Interesting thoughts, Joseph...
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DaveH
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Interesting post, Joseph. I agree with most of what you wrote. The only thing I'd say as a westerner, is that, trying to learn arabic music, I find I
do need some kind of "bridge" to start off making sense of things within a framework I understand. I'm not sure it's possible for an adult who isn't
familiar with the musical culture to learn from scratch. In that sense, starting out on intervals and melodic phrases I can make sense of is useful
and may speed up learning. However, I realise, even though I can "make sense" of, say a piece in nahawand, I'm not necessarily making the same "sense"
of it as a "native speaker" would. The same applies to rhythmic structures. I do think that the "sense" in which you understand the music does change
over time, and you re-learn how to hear it, but I'm not sure I'll ever hear it in the same way as a native speaker.
Now, Charbel presumably didn't write this for Westerners, at least not as his main audience. The unfortunate thing is that many younger learners in
the arab world now may have to go through a similar process of re-education.
I have to agree though, waiting for three years until playing rast and bayat seems pretty excessive. On the other hand, though he is a fine player, I
find much of his music, and that of Marcel Khalife too, could be understood in entirety through this western frame of reference, without really having
to dip much into the sharqi tradition. And I don't see that as an advantage.
One thing that really helps learning is the easy digital availability of old recordings. I wish someone would put together a digital method that
really features these (as well as more modern approaches). As an aside though, I'm aware that arabic music has gone through several revolutions in the
last 100 years and the stuff we can access from the 50s would probably prompt similar complaints from someone who held the traditions of the late
19thC dear.
I guess the traditional way of teaching is "total immersion" where the pupil listens, watches, internalises, and only even starts playing gradually
(between making the tea and other chores!) - a difficult relationship to recreate in the modern age.
But as I say, overall this method does seem a bit one-dimensional.
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Butrous
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The last time I visited with Charbel he was the Dean of the Oud department at The Lebanese National Higher Conservatory of Music. The Conservatory
was founded in the 1930's to teach Western Classical Music. Many instructors at the Conservatory through out its history have been from Western
Europe, especially France, as well as Eastern Europe. The teaching of Arabic music was not a formal department until decades later. Students start at
a young age learning Western Classical instruments and music theory. The study of Arabic music comes later. His method book is written for these
students. More importantly the course of oud study is up to 7 years long with students completing their studies in their late teens or early 20's.
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Reda Aouad
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Very interesting topic.
Let me first tell you that Fouad Awad - my relative  - was the oud teacher of
Charbel Rouhana when he was young. No doubt his book is affected by Fouad's method.
We all agree that Charbel's method introduces western aspects in teaching to some extent. He adopts the FA LA RE SOL DO FA tuning, by which he
introduces a new dimension with the FA4 string - you may like it or not, it's only a matter of personal taste. He also mentions in the first part of
the book that there is a possibility to add the DO2 string, totaling 7 courses. Well I see some advantages to this:
First, the DO2 string is mostly a drone string, and I haven't seen any music sheet in which notes below FA3 (which sounds FA2 on the oud) were
explicitly written. Mastering drone notes on the lower strings (at least the DO2) comes at a later stage, in which the player may want to have a
7-course oud.
Second, the FA4 string adds a new dimension to the oud - and why not? It is always good to experiment with the instrument to try to get the best out
of it and extend its range. Some of Charbel's compositions may seem a bit western, but I don't agree at all that Marcel's ones are. In fact, Marcel
Khalife, in my opinion, is one of the greatest contemporary oud modernists without having to relate modernism in Arabic music to the western
practices, even if he includes chords on the oud in his pieces more often than others. This act of modernism is what I like about Marcel Khalife,
which is a totally new style of composing and playing on the oud, making it an independent instrument by itself and a lead instrument in his
orchestra, blending with "western instuments" playing in Arabic style. Chapeau bas !
Another thing I would like to mention is that Charbel, as he writes in his book, seeks to focus a lot on improving the technical skills of the
student. This is why he includes classical pieces (sonatas...) as well as pieces of Jamil Bashir and others. Personally I don't like to practice such
pieces because they irritate my ear, but I definitely consider they improve the skills and speed of the player, as the skills are imperative and
necessary to the good expression of one's feelings and thoughts. But he should have chosen other compositions - at least no western ones - to achieve
this goal.
As for all the details he adds to the music sheets, from ornamentations to articulations, dynamics, tempo indications... it's a very good improvement
on how music should be written, even Arabic music. I don't see why Arabic music notation should remain vague and not detailed. And if want a room for
a personal touch, just ignore the details and play it on your own. The sheets were written with the idea to play them within a band, and ever detail
is important if we think like that. But I agree that the original hand-written sheets should have been included for comparison and better
understanding.
And finger positions on the oud is on of the best approaches Charbel adopts in his book. Why do you have to practice tens of finger positions on the
violin and not on the oud? Getting a strong foundation and practicing defined finger positions is key for advanced playing. I started learning the oud
before I got Charbel's books, but when I did and I started practicing his etudes for the different finger positions, especially the second, third and
fourth, it really helped me a lot improving my left hand dexterity.
About the similarities you mentioned between Rast and C major, Bayati and D minor, etc.. this is a very bad way of thinking about it, and surely
Charbel didn't think that way. The maqam concept is not related at all to the western scale concept and is not derived from it. Maqams are a far more
complicated concept which one should grasp through sharing information with others and a lot of listening and practice. Written descriptions can help,
but are not sufficient. And if you don't know, Charbel later released an appendix to his first book (the three parts) from which I paraphrase the
following:
After 5 years of teaching with my books, students and teachers gave me the feedback that Arabic maqamat should be included in the early stages of
the teaching process, like Rast, Bayati, Segah, Hijaz, etc.. This is why I reevaluated my book and released this appendix which should be used in
conjunction with the first book.
Thus, Charbel understood the need to teach Arabic maqamat in the first years which would give the student a better chance of assimilating the Arabic
theory. He included in this appendix music sheets of several of his compositions on Rast, Bayati, Kurd, Hijaz, and others, even with transposed
tonics.
And lastly.. don't forget that his approach is intended for young students who wish to pursue academic lessons in the conservatory or any musical
school. This is why it is written for 8 years, the time needed in his opinion to get your musical degree from the conservatory. You can still finish
his books in much less time on your own, but this is the academic way of teaching, as it is with all instruments.
In my opinion, Charbel's approach is very good, although it lacks for example a description of each maqam, it's mood and it's traditional seyr - and I
emphasize on 'traditional' because one should learn at first the traditional progression of each maqam and then start building his own style of
playing and expressing it. Though, it is not sufficient as the traditional aspects of the Arabic music theory are not totally covered.
It is time to start having better systematic teaching methods for Arabic music, and Charbel was one of the few who started to write such a method. A
good initiative, but far from perfect. The journey has started and we will start witnessing similar approaches, hopefully preserving the old
traditional sharqi style and feel.
I hope to see more contributions to this thread as it is a very interesting discussion. It shows how each one of us thinks differently, and this is
what adds richness and variety to the Arabic music world.
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joseph
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Hi,
Thanks everyone for all the contributions.
Eliot,
I presume you said the thirties, because that was the time of the conference on Arabic music in Cairo?
Dave,
The perception of music depending on background is quite interesting. For example, when I attended the Arabic music retreat couple of years ago, I was
intrigued how many people from Western backgrounds, when I asked them, nominated saba as their favourite maqam, while I found it quite sad, and they
seemed quite happy and outgoing people to me! but I think they must have found it more exotic than sad. I don't think there is a valid native
perception though. I'm sure I perceive Bach's music which I love quite differently from someone who is born in a Western country and learned to play
it and hear it in school, or someone that lived in Bach's time, but I'll still enjoy it anyway.
I'm glad that a side effect of Rouhana's method, is that it is more accessible to people from non Arabic backgounds. I think that is a very positive
thing,
Butrous
Thanks for the interesting background. I didn't know there was such a strong emphasis on Western music in the Lebanese Conservatory, but the method
books make more sense, when you give this background.
Reda,
Fascinating post, and it is great to learn about your background. It is wonderful to meet all of you guys here. The only next best thing would be to
meet you in person and have these discussion over cups of Arabic coffee and listen to some oud playing.
The topic of the high F string is worth another round of discussions one day perhaps. Also the topic of what sounds Arabic and what doesn't. I live in
a Western country and I'm quite exposed heavily to Western music, so the topic really interests me.
I generally agree that the instruction details in Charbel's book are mostly positive, and it is easy to discard what you don't need as you say. I tend
to do that with plectrum directions for example. I try to follow them when important, but I don't try to adhere to them exactly, especially when I'm
just trying to learn a piece.
I am interested to learn more about the appendix you mention. I wasn't aware of this. Is this available in a new publication? Do you know if the
appendix can be ordered separately, or do you have to reorder the first volume to get it? Also, do you know of any oud method books where topscs such
as the traditional seyr are discussed?
Cheers
Joseph
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Reda Aouad
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Thank you Joseph. Thank you all. Such topics are endless..
About that appendix, it's hand written by Charbel. I attached here 2 pages, the first in which he says why he released it, and the second a sample of
the content (it's also the music sheet of "Mayyas" in his album "Vice Versa"). You can see how the melody develops in this composition, from Nahawand
on Re, to Bayati on La, to Kurd on La, to Rast on Re, to Hijaz on La, to Nahawand on Re again, then Bayati on La and ending on Kurd La. Isn't it too
much for a beginner as this is an appendix for his first book? Well he has included few of such pieces..
The appendix can be ordered separately - as you can see it's a spiral binding. It's about 70 pages. I only recently got it. It doesn't help me much as
I passed this level (though I practiced all the exercises) but it contains few music sheets which are good to have, and very good exercises for
beginners as well.
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Reda Aouad
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I wish I also know about any book which describes the seyr of various maqams with samples. I have few pictures of a book from Al Sharif Muhyeddine
Haydar (I think he's Syrian), here is one attached which describes the seyr of Farahfaza. I wish I can have such a book. If any of the members in here
know about any similar book please let us know.
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Edward Powell
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This thread is opening a topic which to me seems vitally important currently regarding the condition and direction of oud music in general. Our world,
societies, and ways of living have changed dramatically and we no longer live in a way that is universally conducive to the continuation of the "oral
tradition".
The problem, as I see it, is that those best equiped to author an appropriate oud method are those perhaps least inclined or motivated to write it. So
what happens is that it is the strongly Western minded musician who ends up writing these tutorials - and the emphasis ends up "off".
In my opinion, the "scale" concept is a disaster for oriental music.
If I would write such a book, the very first thing I would teach and stress would be a mastering of all tetra/penta chords. Then slowly put them
together into makams... then watch how these tetrachords are not 'stable' or 'written in stone'. How do they compress and stretch in their ways to
find harmony and balance in the given directions they are 'driven in'. Then I would teach seyr, modulation, traditional repertoire, and taksim.
I would strongly stress right in the beginning for the student to entirely drop and avoid all ideas and notions of "musical scale".
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Reda Aouad
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I strongly agree.
There should be at least someone out there of all professional oud players/researchers who should write a book following an approach similar to the
one suggested by Edward. It is sad how we still crawl hundreds of sources (whether reliable or not) and throw questions here and there in a desperate
search for any tiny bit of information that should have been document long ago, just because some minds stick to the oral way of teaching.
Ed.. Can you explain more on what you said below? I didn't get your point..
| Quote: | Originally Posted by Edward Powell
The problem, as I see it, is that those best equiped to author an appropriate oud method are those perhaps least inclined or motivated to write it. So
what happens is that it is the strongly Western minded musician who ends up writing these tutorials - and the emphasis ends up "off".
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And when will you publish you first book on oriental music theory? 
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Edward Powell
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I think that I would have to do too much research to write such a work... and that is not my goal. Personally I think that Mohammed Antar is going
to write something really ground setting on the subject. Please contact him on myspace http://www.myspace.com/mohammedantar and encourage him. He will do it but it will come faster if he is encouraged!
What did I mean by that quote? ...I meant that perhaps there is a paradox at work here. Those people who REALLY see the value in avoid Western
musical concepts (when dealing with oriental music) like equal-temperament, and scales, are either enlighteded Westerners or very traditional
Orientals. The Westerners are not likely to truly know the subject deeply enough, and the very traditional Orientals are apt not to be inclined to
WANT to promote 'modern' teaching methods, like books and tutorials.
Those Orientals who are already thinking in such Western terms as writing books etc., are likely already very sympathetic to other Western ideas -
like ET and scales. Unfortunately, in the Orient there is an almost God-like respect for almost everything Western, and almost takes a strong crack on
the head to get even extremely intelligent people to wake up to the fact that Western and Oriental music share almost nothing in common and are built
upon an entirely opposing set of building blocks. As soon as you start meshing the musical theories of both together - you are lost.
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DaveH
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Edward:
"those best equiped to author an appropriate oud method are those perhaps least inclined or motivated to write it."
Nicely put. Ali Jahad Racy though is one person who has a foot in both the traditional and "musicological" camps. Someone like him would be well
placed to produce a more authentic method for arabic music (no reason it shouldn't be more general than just the oud). His book deals more with the
social aspects of arabic music, but it describes this paradox well. I envy his students at UCLA. Issa Boulos, who I met recently, is another person
who I imagine would be up to the task.
"Unfortunately, in the Orient there is an almost God-like respect for almost everything Western"
I understand what you mean, but not sure it's quite as simple as that. In any case, perhaps one of the positive impacts of the Iraq war will be to end
this respect, if the various other wars and proxy wars hadn't already succeeded, that is.
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ALAMI
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"seyir" is called in Arabic "tarikat Amal al Maqam" (the way the Maqam works) it seems that this teaching is absent from all modern methods but I am
aware of at least 2 books discussing Arabic Maqam Seyir: "La musique Arabe.." of Rodolph D'Erlanger Vol 5 (published in 1932 and reprinted many times)
Publisher: Les Geuthner - ISBN 2-84306-073-7
and "Al Musiqa Al Nazariya" (Theoretical Music) of Salim El Helou Published in 1958 (and correcting many errors in D'Erlanger book) this book was
recently reprinted in Beirut by "Dar Maktabat Al Hayat", in his book Salim Al Helou calls Seyir "Ijraa Al Amal" (loosely:Procedure)
The description is similar to the one posted by Reda but it covers around 60 Maqams.
Reda, Sherif Muhyeddin Haydar is the Arabic name for Sherif Muhyeddin Targan, he was Turkish, he founded the Baghdad music school and was the teacher
of many Iraqi and Turkish musicians, he was also a great composer
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Luttgutt
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I recall the word "Sighat al maqam" by my teacher 30 years ago, so I might be mistaken!
Anybody heard of that?
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FastForward
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Here is a brief wiki on Sherif Muhyeddin, he is from the Hashemite family.
http://en.wikipedia.org/wiki/Serif_Muhiddin_Targan
I also wish there is a good source for arabic music theory that explains the seyir of the maqams.
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Butrous
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The word "seyir" is new to me. The way "tarikat amal el maqam" and "ijraa al amal" are used might be found in the 30 or so dulabs. They serve as an
introduction and set the mood and direction of a maqam for the audience.
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