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Neredeyim: Ninova / Dersler / Sosyal Bilimler Enstitüsü / MYL 514E / Dersin Haftalık Planı

Dersin Haftalık Planı

Hafta Konu
1 Week One, February 13
Class overview, syllabus, and readings.
Course assignments and expectations.
Listening exercises. Musical topographies.
General unifying features and historical background.

1) Racy, “Introduction” Making Music in the Arab World
2) Shannon, “One: Among the Jasmine Trees.” Among the Jasmine Trees
2 Week Two, February 18
General survey of musical diversity throughout the Arab world.
Current state of music performance, music industry, music education in the Arab world. Overview of Egypt and Syria, and background of their recent political and cultural histories.

1) Racy, “Culture.” Making Music in the Arab World
2) Shannon, “Two: Sentiment and Authentic Spirit.” Among the Jasmine Trees
3) Touma, “Genres of Secular Art Music.”
3 Week Three, February 25
Constructing heritage, authenticity, and tradition in Egypt and Syria. Reifying the past in newly constructed concepts of authenticity. “Art” music and post-colonial constructions of national music identities.

1) Racy, “Historical Worldviews of Early Ethnomusicologists: An East-West Encounter in Cairo, 1932”
2) Thomas, “Intervention and reform of Arab music in 1932 and beyond.”
3) Iino, “Inheriting the Ghammaz-oriented Tradition: D’Erlanger and Aleppine Maqam Practice Observed.”
4) D’Erlanger, La Musique Arabe, vol. 5
4 Week Four, March 3
Europeanized Egyptians vs. Orientalist Europeans: deciding the future of Arab music. The 1932 Congress of Cairo and its lasting impact. The state of research on Arab music through the early part of the 20th century.

1) Racy, “Record Industry and Egyptian Traditional Music: 1904-1932.”
OR Racy,“Arabian Music and the Effects of Commercial Recording.”
2) el-Shawan, “Radio and Musical Life in Egypt.”
3) Frishkopf, Michael. “Nationalism, Nationalization, and the Egyptian Music Industry:
Muhammad Fawzy, Misrphon, and Sawt al-Qahira (Sono Cairo).”
4) Racy, “Performance” In Making Music in the Arab World
5 Week Five
Mediation, commodification, and musical change in Egypt. Nationalization of the music industry and its effects of musical practice.

1) el-Shawan, “The Role of Mediators in the Transmission of al-Musiqa al-‘Arabiyyah in Twentieth Century Cairo.”
OR el-Shawan, “Traditional Arab Music Ensembles in Egypt since 1967: ‘The Continuity of Tradition within a Contemporary Framwork?’”
2) Asmar, Sami, and Kathleen Hood. ”Modern Arab Music: Portraits of Enchantment
from the Middle Generation.”
3) Danielson, Virginia. “New Nightingales of the Nile: Popular Music in Egypt Since the
6 Week Six
The heroes of al-Musiqa al-‘Arabiyyah and al-Musiqa al-Sharqiyyah. Artist biographies: Om Kalsoum, Mohammad Abdel Wahab, Abdel Halim, Fairouz.

1) Racy, “The Waslah.”
2) Shannon, “al-Muwashshahat and al-Qudud.”
3) Racy, “Music” In Making Music in the Arab World
4) Shannon, “Five: Authentic Performance and the Performance of Authenticity.”
5) Marcus, “Modulation in Arab Music: Documenting Oral Concepts, Performance Rules, and Strategies.”
7 Week Seven
Musical forms used in urban art music in Egypt and Syria.
Wasla, dulab, tahmila, muwashshah, qudud, mawwal, layali.
Mode, improvisation, tonal-spatial and rhythmic-temporal characteristics.

1) Waugh, Earle H. “Ritual Leadership in the ‘Dhikr’: The Role of the ‘Munshidin’ in Egypt.”
2) Frishkopf, Michael. “Tarab in the Mystic Sufi Chant of Egypt.”
3) Shannon, Jonathan. “Four: Body Memory, Temporality, and Transformation in the Dhikr.”
4) Racy, Ali Jihad. “Sultanah.” In Making Music in the Arab World: the culture and
artistry of Tarab, 120-147. Cambridge: Cambridge University Press, 2004.
8 Week Eight – SPRING BREAK
9 Week Nine
Music, religion, spirituality, & ritual in Syria, Egypt, and elsewhere.

1) Grippo, “What’s Not on Egyptian Television and Radio! Locating the ‘Popular’ in Egyptian Sha’bi.”
2) Cachia, “The Egyptian Mawwal: Its Ancestry, Its Development, and Its Present Forms.”
3) Hanna,“The Mawwal in Egyptian Folklore.”
4) Peterson, “Remixing Songs, Remaking Mulids: The Merging Spaces of Dance Music and Saint Festivals in Egypt.”
10 Week Ten
Sha’bi music. Sa’idi music of upper Egypt. Rifi music of Iraq. Baladi in the Levant.
Popular music in Egypt today.

1) Shiloah, “The Simsimiyya”
2) Hood and al-Oun, “Changing Performance Traditions and Bedouin Identity in the North Badiya, Jordan.”
3) Reynolds, “The Economy of Poetic Style.” In Heroic Poets, Poetic Heroes.
4) Racy, “Lyrics.” In Making Music in the Arab World
5) Racy, “Heroes, Lovers, and Poet-Singers: The Bedouin Ethos.”
11 Week Eleven
Bedouin music, aesthetics and practice. Sung oral epic poetry.
Simsimiyya in the Red Sea, and among al-‘Arab of Egypt’s northern coast.
Sira, mawwal, and madih of the Halabi gypsyies of Egypt.

1) al-Taee, “Enough, Enough, Oh Ocean: Music of the Pearl Divers in the Arabian
2) Touma, “The Fidjri, a Major Vocal Form of the Bahrain Pearl Divers.”
3) Urkevich, “Sea Music Traditions, and Saut.”
12 Week Twelve
Saut, samri, and fidjri in Bahrain and Kuwait.

1) Ulaby, “On the Decks of Dhows: Musical Traditions of Oman and the Indian Ocean World.”
2) Al-Harthy, “African Identities, Afro-Omani Music, and the Official Constructions of a Musical Past.”
3) Urkevich, “Incoming Arts: African and Persian.”
13 Week Thirteen
Oman and Yemen. Trans-Indian ocean connections.
Afro-Arab influences. Lewa, mawlid, zar.

1) Ulaby, “Mass Media and Music in the Arab Persian Gulf.”
2) Urkevich, “Hijazi Women and Music Making” & “Distinguished Hijazi Artists”
3) Hassan, “Between Formal Structure and Performance Practice: On the Baghdadi Secular Cycles.”
14 Week Fourteen
Mediation and music in the Gulf region. Urban art song and popular forms, commercialized music, audiences, and oil.

1) Racy, “Tarab in Perspective”
2) Shannon, “Tarab, Sentiment, and Authenticity”
15 Week Fifteen, May 19
Review of course material, recap of key concepts.
Presentation of research paper topics.
16 Final Project Due
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