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.One musician who has contributed a great deal to the renewal of Arabic music is the Egyptian Sayyed Darwish. Born in Alexandria in 1892, he was the first Egyptian musician to avoid wherever possible the company of political rulers. In the Egypt of his day the Ottoman pashas were still the ruling class. As a result, people followed the Turkish musical style, and Turkish elements also found their way into the texts of songs.Darwish, however, did not use one single Turkish word in his songs. He is universally regarded as the father of quasi-classical modern music. The majority of the songs he sang were taktuka, mostly short songs played for the amusement and entertainment of the audience.With Darwish, Arabic music began to concentrate on the expression of something substantial in terms of content.He is credited with revolutionising Arabic music at the start of the last century.

In particular, he changed the traditional musical forms. Before him Arabic music was very soft and monotonous, and had almost no recognisable rhythmical structures. By contrast, Darwish’s songs are clearly modulated, with a catchy rhythm. It is therefore not surprising that his melodies are still well known and loved by a wide audience.During this period new song forms also developed, influenced in part by European musical theatre and film.In the 1930s and ’40s songs in dialogue form were very popular. A more monologic song form developed under the influence of the opera aria, to which the Egyptians had been introduced by the Italian opera performed at the opera house in Cairo.Another musical form, developed early as the nineteenth century and still often performed, is the dor.

The dor is sung by a soloist and a choir and is always written in Egyptian dialect. One of the famous composers of the dor in Egypt at the beginning of the twentieth century was Zakaria Ahmed. He wrote many dors for singers including Umm Kulthum, the grande dame of Arab song. Shariah Program Classical Arabic Music Artists VideoIn the Arab world she was called ‘Kaukab al-Sharq’, or ‘Bright Star of the Orient’.From the 1940s onwards the huge film and music industry in Cairo became a magnet for artists, musicians and composers from all over the world. Cairo became known as the ‘music capital’, and from there new, important musical impulses have since emerged.Even prior to this, the greats of Arabic music such as Mohammad Abdel Wahab, Umm Kulthum, Abdel Halim Hafex and many others had come from Egypt. Their names and their music influenced the Cairo music scene until well into the 1970s. At the same time there had also, since the 1950s, been the so-called Beirut school.

Shariah Program Classical Arabic Music

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The city’s exposed situation created a particularly liberal climate, which turned it into a cultural meeting point for many intellectuals and artists. For music, too, this was, of course, an unusually positive starting point, and Lebanon’s cultural variety is indeed still reflected in its music today.Lebanese songs are altogether faster and shorter, and are characterised by the diversity of their sounds. The Beirut school was regarded as particularly captivating because of its rich tradition of Lebanese folk music.Then, in the 1950s, the phase of appropriating European melodies and traditions began.European harmonies and melodies from concerts and operas were thus integrated into Arabic compositions.People began to develop a new kind of music, after some musicians went abroad to study Western instruments and the theory of harmony.

Once again, this took place primarily in Egypt, but also in Syria and in Lebanon. The large-scale orchestra opened up the possibility of extending the musical repertoire. Instead of the small ensemble with which classical musicians had, until this point, been familiar, they now founded symphony orchestras. Instead of melodic elements they used harmonic idioms. Sometimes they extended the ensemble with traditional Oriental instruments like the rabab, lute, and flute. This created a new, unusual tone; for the Western instruments have their own tonal colour.The combination of the various elements from Orient and Occident also influenced this music.

Relatively quickly, Arab ears became accustomed to the new music.The musicians saw the new-found freedom of West-Eastern creativity as an opportunity, and orientated themselves towards this modern artistic development. In their works they have created a musical synthesis that links European compositional styles with the traditional music worlds of their respective countries. Their work is already leading the way for coming generations of Arab musicians and composers.