Chapter Seven Art Music of the Late-Nineteenth/Early-Twentieth Centuries:

Takht Ensembles

(1) E, S Page 99 The Move from Rababa to Violin Examine the photos of the rababa and violin, and determine how closely related they may be. What would prompt a change from one to the other? (As music across the world becomes more blended, common instruments allow for more integration between traditions.) As you will find other places in the text, the ’ud was replaced by an electric keyboard, and the mizmar replaced the earlier nay flutes. Rababa

Violin

_ (2) S Page 100 Firqa Versus Orchestra In the firqa orchestra, synchronized bowings are not featured in the way they would be in a Western orchestra. If you have access to an ensemble of string players, choose a simple melody from your ensemble’s repertoire, such as the basic “Twinkle, Twinkle” in various rhythms that can be used for warm-ups. Ask the ensemble to perform the melody together without designating the bowings to be used. Consider videotaping if possible. Then have them play the melody again with designated bowings. Is there a difference to the sound of the free-bowing and designated bowing, or only to the look of the players as they perform each of the techniques? Why do you think Western ensembles have chosen to use the same bowings within each section? Are there any negative aspects to designated bowings? The text describes a desire for individuality in the ensemble, whereas Western orchestras are intended to have the vision of one unified whole. _ (3) E, S Page 101 Musical Change By the 1930s, the Egyptian musical tradition of takht had changed to firqa over time by adding more instruments that already existed in the ensemble, as well as by adding new instruments. The change in ensemble size my have been necessary because recording was becoming popular, or due to the change in size of the venues for performance. Consider Western European art music traditions. How have the sizes of orchestras changed over time? Why have these changes been made? How do those reasons compare to that of Egyptian art music? Suggested ideas: Addition of existing instruments in an ensemble Need for greater sound due to larger performance spaces Development of new instruments which can play louder

(4) E, S Pages 101-102 Reviving the Past The author describes a revival of live performance through a government-supported ensemble called The Arab Music Ensemble. He describes ways in which this new ensemble worked to preserve older musical traditions. Make a comparison list of the features of these revival ensembles. How do students think Egyptian traditional musicians responded to these changes? If you were a traditional musician, would you side with tradition or new development? Traditional Methods The Arab Music Ensemble Method Takht-sized ensemble (small) Firqa-sized ensemble (orchestra sized) Musician led Conductor led Aural/Oral tradition transmission Written notation Performance in patrons homes, weddings or Performance in large concert halls coffeehouses Traditional takht attire Formal Western dress, such as tuxedos Musicians self-taught or tutored privately Musicians with university degrees

(5) E, S Page 103 Picture Map of the Instruments Following the recording of the wasla on CD tracks 9-19, use the map of instruments to guide students.

(6) E, S Pages 105-106 Love Songs One type of text for mawwals is that of a love song. Examine the translation of the text on pages 105-106 as you listen to the recording. What ideas of love are carried in the text about love? Seek out similar love songs in other folk traditions around the world such as “Kjerringa Med Staven” (Norway) and “Clementine” (USA). Listen with your students and analyze the text for similar ideas. (7) S Page 107 Improvisation on the Text Use the following chart of the text for the song on CD track 16 and have students listen while following along. Have them underline the places in each phrase where vocal improvisation is used to change the lines. Where the lines repeat, are the improvisations in the same place? How are the lines of text weighted for flow of words versus flow of improvisation? waladi nadahtak lamma soti itnabah waladi nadahtak lamma soti itnabah ma tkhafshi min ginni wa-la min shabah w-in habbi fik ‘afrit ’atil is’aluh ma dafa ‘shi leh ‘an nafsuh yom ma indabah ‘agabi (8) E, S Page 107 Voice to Instrument Improvisation

Help students understand how difficult it is for the instrumentalists to follow the singer’s improvisation. Using xylophones or bell sets and a limited number of tones, improvise a short phrase and have students play it back to you. Start with three to five notes and then extend the phrases or add additional notes for students to work with. (9) E, S Page 108 Dulab Rast Modes and scales are used to create an infinite number of compositions in all musical traditions. Tracks 10 and 13 on the CD are both labeled as dulab rast, which distinguishes the maqam, or mode of the piece. Listen to both tracks to hear how they are the same and how they are distinct. Using a keyboard instrument, give your students a common scale or mode to use for composing a short melody. Play them for each other and analyze how they are different. (10) E, S Page 108 Name That Song Sama ‘i compositions became standard pieces that all music students in Egypt learned on their instruments. For many instruments in the West, these sama ′i might be known as etudes. What are some musical pieces that all children in your school would know (i.e., “Twinkle, Twinkle,” “Happy Birthday,” “If You’re Happy and You Know It”)? What songs would everyone in your community know (i.e. your national anthem)? Are there any pieces that people learn all over the world? (11) S Page 109 Sama ‘i Structure

Listen to track 12 and use the diagram for activity 7.3 in the text on page 109 to help students follow the structure of verses and refrains. Introduce students to the term khana for verse and taslim for refrain. Remind them that the refrain is the section that will be repeated in the same form each time. (12) E, S Page 115 How Does the Audience Respond? Listen to the wasla on CD tracks 9-19, and pay attention to how the audience responds. Find other recordings of live performances in different traditions such as gospel, Latin, and jazz. How do the audiences respond in these traditions?