16.-18. November 2024 Klinikum Solingen
Vorübung zur Musik des Libanon HIER (Wikipedia Music of Lebanon)
Entdeckung zu einer Phase meiner Geschichte (dank JMR): eine Zeitschrift:
Idee / Zeitschrift für Ideengeschichte Heft XVIII/4 Winter 2024 C.H.Beck www.z-i-g.de hier)
1967!
Bezug dieses Blogbeitrags Seite 23ff und Seite 60ff:
Jad Tabet „Die Fassaden der arabischen Moderne“ Auf der Suche nach dem Architekten Antoine Tabet (s.a. hier) siehe oben
Diana Abbani „Auf der Suche nach Beiruts Klang“ (in der Zeitschrift Idee Zeitschrift für Ideengeschichte Heft XVIII/4 Winter 2024 C.H.Beck www.z-i-g.de hier) siehe unten
Aus der Einleitung:
Ich folge den Spuren von Geistern und der Erinnerung an Orte und Worte, die längst verklungen sind. Doch das Fehlen von staatlichen Tonarchiven und die Unzugänglichkeit der Radioarchive machen meine Suche zu einer beschwerlichen Reise. Das verrät uns schon etwas über die selektive Bewahrung des kulturellen Erbes des Libanon. Auf meiner Suche entdeckte ich Privatarchive sowie Online-Foren und spezialisierte Websites, die mir Einblicke in die musikalische Vergangenheit Beitruts boten. Mir wurde immer klarer, dass Archive nicht nur alte Musikaufnahmen bewahren, sondern auch vergangene Kulturtechniken dokumentieren: von Schellack- und Vinylplatten bis hin zu mp3. Ich verstand, dass Archive weit mehr sind als bloße Verwahrstätten der Vergangenheit. Vielmehr müssen wir sie uns als dynamische Foren vorstellen, die von Machstrukturen und hegemonialen Wissenskonstellationen geprägt werden. Archive kanalisieren und formen kollektive Erinnerungen.
Diane Abbani
Es folgt die Ausarbeitung der wertvollen Links, die in den Anmerkungen näher bezeichnet sind:
Anmerkung 3 (Text über die AMAR-Stiftung)
https://journals.openedition.org/anisl/5867 hier
Anmerkung 5
https://www.amar-foundation.org/ hier
Anmerkung 9 („Oh, ehrbare Leute der Nachbarschaft“)
https://soundcloud.com/jeem_me/13-emp3-ws?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing hier 7:04 Badriya Saadeh (Sängerin) wiederentdeckt und behandelt von Diana Abbani Seite 64 Stichwort: Qasida
Anmerkung 10
https://www.amar-foundation.org/001-alqasida-ala-al-wahdah hier 28:03
Al-qaṣīda ‘alā al-waḥda (on-the-beat /4/4 rhythmic cycle) is a distinctive Nahḍa (Arabic Renaissance) form that appeared in the second half of the 19th century. This does not imply that pre-Nahḍa performers did not sing Arabic qaṣā’id to the waḥda –or to any other– rhythmic cycle. Al-qaṣīda ‘alā al-waḥda was intended to blend the Sufi form (i.e. the dhikr) and the secular form. The rhythmic cycle was used in the inshād of qaṣā’id (chanting of qaṣā’id) in order to preserve the group approach to the responsorial parts –i.e. al-inshād (the singing/chanting) and al-radd (the répons)– in dhikr ceremonies. But later on the takht (Arabic orchestra/ensemble) was entered into this minimalistic Sufi form that was then performed with the instrumental and vocal lāzima (chorus): Sufi music and secular music came together, creating a form equivalent to other revamped forms, such as the dawr and the taḥmīla …etc. Here’s a detailed description.
According to Professor Nidaa Abou Mrad, the qaṣīda ‘alā al-waḥda is the result of a fusion between two major forms in the eastern traditions: al-tilāwa (cantillation/recitation) and al-lāzima (chorus).
The meaning of al-tilāwa in this context is the tilāwa form or the singing form of a qaṣīda mursala (of non-metric measure), i.e. the improvisation of a melody for a classical Arabic text outside any rhythmic cycle.
Here is an example of a qaṣīda mursala performed by Sheikh Alī Maḥmūd.
Al-lāzima is a chorus or a madhhab, a melodic phrase repeated after specific vocal or instrumental passages. In the 20th century, al-lāzima was the instrumental phrase linking two melodic passages of a song or of an instrumental piece.
In the qaṣīda ‘alā al-waḥda, the lāzima implies “Lāzimat el-‘awādhil” adapted from a madhhab in the dawr “Āh yā anā” to the sīkah maqām (mode), and whose existence’s only proof is its mentioning in Nahḍa books. The lyrics of this dawr are: “Āh yā anā w-ēsh li-el -‘awādhil ‘andinā, qūm maḍya‘ el-‘udhdhāl we-wāṣelnī anā”. “Lāzimat el-‘awādhil” can be performed to the waḥda rhythmic cycle and to different maqāmāt according to the performer’s wish.
Let us listen to a performance of “Lāzimat el-‘awādhil” by a baṭāna -choir of munshidīn (chanters)- to the bayyātī maqām, the most common in qaṣā’id chanting.
The fusion between the two above mentioned factors (tilāwa and lāzima) created a new form: the qaṣīda ‘alá al-waḥda. This form was the principal competitor of the dawr, especially as to the conclusion of the waṣla.
According to Professor Frédéric Lagrange, the tilāwa of the qaṣīda accompanied by instrumental music is an invention particular to the Nahḍa period. He adds that the improvisation of a qaṣīda ‘alá al-waḥda is a marriage between the rhythm of the lyrics and the cyclic rhythm, half- composed, in which the performer renders different versions where the rhythm of the lyrics may follow the cycle’s rhythm or the other way around, with every verse ending with a dum.
‘Abduh al-Ḥamūlī was in the lead of those who performed qaṣā’id ‘alá al-waḥda in their early stage at the end of the 19th century, followed by Yūsuf al-Manyalāwī, ‘Abd al-Ḥayy Ḥilmī, Salāma Ḥigāzī and many others.
etc. etc. siehe im Link
Anmerkung 12
Mawwal Bagdadi
https://www.amar-foundation.org/013-the-mawwal hier 40:40
The mawwāl is the third passage of the musical waṣla sang in classical Arabic during the Nahḍa period. It is preceded by the instrumental istihlāl (overture) represented by the samā‘ī or the bashraf, and the vocal istihlāl embodied by the muwashshaḥ. We can safely state that the mawwāl is the passage of taqsīm, layālī, and mawwāl, all being interconnected passages gathered under one appellation: the mawwāl. This passage is supposed to be entirely improvised to the same maqām as the waṣla’s maqām. The mawwāl started as a popular form before gradually entering the vocal waṣla. Various forms of mawāwīl are found in the popular traditions of the Arab people. This particular subject will be discussed in another episode. Today’s episode is about the mawwāl in the literary artistic traditions.
The mawwāl as a literary form is a text written in dialectical Arabic. Some trace it back to the word mawāliya. There are different forms of mawwāl, yet only two of them are left in the waṣla. These two forms are written to the baḥr al-basīṭ “mustaf‘ilun fā‘ilun mustaf‘ilun fā‘ilun”. etc.etc.
ab 3:00 in Maqam Sikah (Baidaphon)
Anmerkung 13
https://www.amar-foundation.org/059-muhyiddin-bayun-1 hier 37:30
Muḥyiddīn Ba‘yūn…
The muṭrib of Bilād al-Shām and a star who shone in Beirut’s sky, as well as an unrivalled player of ṭanbūr baghdādī –known today as the buzuq.
We will dedicate two episodes to this multi-talented artist: the first episode will be about his singing, and the second one about his playing.
Abū Sa‘īd, i.e. Muḥyiddīn Ba‘yūn, was born in Beirut around 1885 and died in this city at the age of 45 after a 2 years’ struggle against illness.
The relationship of Muḥyiddīn Ba‘yūn with music seems to have started early, and he seems to have been quite eloquent in the Arabic language. Some say that this was the result of his attending the Maqāṣid school –newly established then– where, according to a muḥaddith, Ba‘yūn studied Arabic, fiqh (Islamic Jurisprudence), tilāwa (Quran Recitation), and adab (Arabic Literature).
Let us listen to Ba‘yūn performing “ ’Indī rāyāt majdak” to the bayyātī maqām, accompanied by Sāmī al-Shawwā (kamān) and Zākī al-Qānūnjī (qānūn), recorded in Cairo on two sides of a 27cm record, # B-082974. ab 3:20
Anmerkung 14 „Bilad al-Sham ist vom Unglück befallen“
https://www.youtube.com/watch?app=desktop&v=wp9JiZY3h4A hier
Anmerkung 16 „Ya mal el-sham ya oje“ („Oh Schönheit aus Syrien, du bist verdreht“) Omar al-Zaani HIER (Wiki !)
https://www.youtube.com/watch?v=5csuSEuApuQ hier bzw. folgender Youtube-Link:
Anmerkung 17
https://www.sama3y.net/forum/showthread.php?t=10323 (Rachel Smuha) hier
Anmerkung 18
https://www.amar-foundation.org/193-folk-music-in-lebanon-1 hier
Sehr instruktiv: siehe z.B. Lebanon (3) hier Interview arabisch (engl. Übersetzung beigefügt) gute Orig.Musikbeispiele, zur poetischen Sprach-Rhythmik.
Arabic is influenced by Syriac (see Ephrem the Syrian) whose structure is found in the Lebanese mountains, especially in the qerradeh whose melody is to the sikāh (♩).
Even in the structure of the melody, the steps are close: There is no leap to the 3rd, the 4th, or the 5th. There is also the three tone E F G G F E… that we never need to change. Moreover, we recite it as if we were talking, i.e. “ ‘A el-‘mayyim ‘a-el-‘mām ṭīr we-‘allī yā ḥamām”. Yet we can also sing it as follows (♩) …
* * *
Anybody can sing it, even a group. It is easy to sing, unlike solo singing. Whereas a qaṣīda, as a long song, requires a qaṣīda poet / singer with a beautiful voice chosen by the clan or the group to recite a verse of ‘atābā. No one would ask a person with an ordinary voice to sing ‘atābā or mawwāl baghdādī. Whereas qerradeh, as a folk tune, can be sung by anybody and by a group. The qerradeh poem is composed of 4 hemistiches, i.e. 2 verses, and usually includes a lāzima (chorus) repeated by the group and a dawr (semi-composed metric song in colloquial Arabic, sung by the lead-singer and the choir, inclusive of responsorial sections) whose lyrics address a specific situation, and that is interpreted by a soloist and repeated after him by a group. The qerradeh is an important element of the Lebanese zajal category, i.e. zajal concerts, circles, on stage performances, and duels, thanks to its easy performance, simple structure, and compatibility with any chosen topic, usually a happy one, as it is performed in joyful situations rather than upon a sad event.