Arabic Music Independent and alive music has a long history of interacting with many musical styles in other regions and species, a mixture of the music of the people of the Arabian Peninsula and all the peoples of the Arab world today as well as other artistic fields. The Arabs also translated and developed texts and musical works And mastered the Greek musical theories.

Pre-Christmas period

The earliest mention of Arabic music in the sources dates back to a 7th century BC inscription dedicated to King Ashurbanipal. The Arab prisoners spent their time singing and music. The inscription states that the Assyrian King Assyrian and his companions enjoyed the singing and music performed by these Arab prisoners, and the inscription continues that the audience was impressed by that performance and demanded more. It is known that Ashuranbeal incorporated what is now southern Iraq and the kingdom of Elam in 648 BC. It was among those who faced the invasion of the Arabs and their kingdom in Domat al-Jandal under the command of Queen Attia and her husband, the Arab king, who was captured by the battle and perhaps these prisoners may be the result of those clashes. In any event, history did not preserve any Arabic music from that era.
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Basic machines
String Instruments
al Oud music instrument.
Machine.
Violin.
Crane machine
Sesame machine
Mandolin machine
Guitar machine
Machine Bezek
Pneumatic machines
Flute Machine.
Pewter machine.
Machine of the Argus
Milling machine
Percussion instruments
Al-Darbika.
Dohul.
.
Glowing.
Shouts.
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Arabic music began to develop in the second half of the nineteenth century, especially during the era of Khedive Ismail, who commissioned the Italian musician to write the opera Aida and build the Egyptian Opera House on the occasion of the opening of the Suez Canal. Khedive embraced Abdo Hamouli, who sang in the palace. Among the students of Abdo Al-Hamouli were Yusuf Al-Manilawi, Saleh Abdul Hay, Sheikh Salama Hijazi and Sayed Darwish. Then Egyptian and Arab music and the art of singing developed quickly by replacing the takht with the orchestra and introducing European instruments that were not known to Egyptians and Arabs, including violin, contrabass, piano and others. Among the teachers who participated in the course of development at the beginning of the twentieth century the great artist Mohammed Abdel Wahab, Farid Al-Atrash, and Mohammed Fawzi, as Sheikh Zakaria Ahmed and Riad Al-Sunbati invented the long song. The great singers and singers gave a lot of tender to the Arabic music, such as Umm Kulthum, Fairuz, Abdel Halim Hafez, Asmahan, Wadih El Safi, Sabah Fakhri, Talal El Madaha, Warda El Gazzaria, Mohamed Abdou, Sabah El Shahroura and Nazem El Ghazali. And some of them sang the long song with the large orchestra, which sometimes reaches the number of players sometimes to 50 musicians, such as the planet East Umm Kulthum, Abdel Halim Hafez and Najat small and Faiza Ahmed and the Algerian and Soad Mohamed.

The place is the group of sounds confined between the voice and its repetition (answer), and the denominators are different from each other and that arises from the different dimensions (audio distances) between the musical grades. The one dimension in oriental music symbolizes the number 4, ie: distance 1 = 4 and thus divided into four distances. Perhaps this is what distinguishes oriental music from its western counterpart, which does not recognize the quadrilateral division of one dimension and sees it as a musical element.

The bottom line is that one dimension in Arabic music = 4 while one dimension in Western music = 2 where it is divided into only half without quarters. The main denominators meet in the word (made with magic), which is in detail:

(ص) صبا: More Maqamat sad, and the origin of the word "Saba" Syriani any Saba, an example of this song is "Saheeh Al Hawa Gulab" for Umm Kulthum.
1-degree Rokuzh: Dokah (irrigation) D.

2 - the most important degrees:

Perhaps the most important signs in the place of children are the second and fourth grade.

3 - The distance: 3-3-2-6-2-4-4 The first sex is the sex of youth 3-3-2, which is the most important [[genus (music)]] in this [[the place] We have been looking for a number of other races, we will find many of them as each of the four consecutive degrees form a gender or is used in the comparison music Tetrachord is a shortcut.

(N) Nahawand: It is the standard place in Eastern and Western music, compared to the city of Nahwand, and is called the west of Minor. This example is the beginning of the song "Dart Al Ayam" by Umm Kulthum.
Degree of dizziness: Aldo or C. The most important degrees: Aldo - Fa - arrival C - F - G

Spaces:

Oriental music 4-2-4-4-2-4-4

(P) Ajam: which is also customary between the East and the West relative to the country of Agam or Persians, and is used frequently in the singing of the churches. An example of this is the money for "your alliance with the branch, O Bird" for Wadia Al Safi.
The degree of decomposition: Agam (Du) or Agran (F). Distance: 4-4-2-4-4-4-2

(B) Byat: represents the popular place and means joy or pleasure in Aramaic or Syriac in every house in which Altaaba, Majna and Al-Ahrah are hesitant. The example of the wedding song "Dabwa Mzahr God and the house will come."
Degree of dizziness: Dokah irrigation.

Distances: 3.3.4.4.2.4.4

(S) Sikah: It is the place where the mark of the eastern quarter, ie the third degree in Persian, is also a source of happiness for the soul. His example is the song "Night Mabarh Majanish Noum" by Sayed Makkawi, which is the place of Al-Hazzam, a Turkish sub-denomination of origin derived from the shrine of the Sekah.
The degree of concentration of the properties of Alhamzam and Al-Sikkha is the degree of the Sukah.

The degree of cycah is the natural (M) D minus one quarter of the distance. Sikah distances: 3-4-4-3-3-4-3

Al-Hazzam: 3-4-2-6-2-4-3

(H) Hijaz: a place that also brings warmth and joy, and it is named after the province of Hejaz. For example, the song "Farouk Alnajal" by the late singer Nazem al-Ghazali, and "What Does It Look Like" by Fayrouz.
Degree of Ducois: Dokah-Ray-D distances: 2-6-2-4-2-4-4

(R) Rast: It is common in the Arabic music stands that he is the master of the denominations, and his name means the right or the correct in the Persian or Kurdish language, and nothing is said about it. It was said "if you want to finish first." An example of this is the song "Arouh Lamine" by "Umm Kulthum".
These are the main denominators from which the other denominations branch according to the musical dimensions in the musical scale and reach approximately 250 denominators. What is useful is that one can understand the musical dimensions of these denominators and not just concern with multiple names.

Degree of Raquza: Rast-du-C. Spacing: 4-3-3-4-4-3-3

The Influence of Arabic Music on Western Music
Ribera and his Orientalist colleagues, such as Valencia, Provnal, Klut, Dozy, Gomez, and other thinkers, have published many examples of contemporary poetry in France, Germany, England, Italy, Portugal, Spain In comparison and balance between those poems and what was developed in Andalusia of the system of poems Almoushat and Alazjal, citing these examples and citing the fact that what is emerging in Europe from the weight of hair, but was a reflection of what contained Andalusia of these innovative colors. The orientalists have shown that some of the forms of the poems called La Ballade, La Chanson Coutroise and other poems of the Tropador are composed of patterns and parts that are somewhat similar in their arrangement to the patterns and parts of the verses. And that the systems of the poets of the Tropadur were based on the most important music and singing, as is the case in Almoushat.

According to the German researcher Dr. Sigrid Honicke in her book (Sun God on the West - the virtue of the Arabs on Europe) in a detailed chapter written by Zriab:

(The old singing music, like ancient poetry, does not know rhythm but depends on the weights that are confined to short and long sections.) The oldest church music dating back to the Middle Ages knows neither rhythm nor balance, but usually relies on units of tones connected not The musical distribution, in the form of the division of verbal sentences by means of cholals and the like, is a regular division.

The rhythmic construction is authentic oriental. The rhythm helps to create (time limited music) and leads directly to the Misura system. This may be the most important musical legacy that the Arabs gave to Europe, namely, the time-limited music that led directly to the creation of Mazoura. The theory of music in the Spanish-Arabic literature appeared in Latin works in the twelfth and thirteenth centuries.

The second heritage that Europe inherited in music from the Arabs is the Arabic melody. The Arab adherence to musical composition is observed in the horizontal principle, ie, the Arabic music of Hanieh does not include the Harmony, which is based on vertical combinations. This is the secret of the Arab tendency to music more than music.

Europe condemns the Arabs in its most musical instruments, having given Byzantium the organ, the law and the harp. Many of these Arab machines came from Spain to Europe and still retain their Arab names. It is string instruments: oud, guitar, mandola, mandolin, tabor, senator and law, and string instruments with a bow. It is the blowing machines: blowing, flute and flute. And rhythmic instruments: shackles, horns, drums, drums and others.

Perhaps it was these machines that prompted the Europeans to know the Harmony, and perhaps to play the arc of strings simultaneously in the dimensions of the fourth and fifth and the answer, which fits the European tendency to vertical composition, and prompted him to create Harmonic music.
The writer then goes on to mention the names of a group of Europeans who have translated Arabic music from those who have benefited from the school of Zriab or its students, to say:

(The passages: du-ri-mi-fa-sol-la, which is said to have been placed by Guido Arrezze in about 1026 and is the first passage of the lines of the Hymn of John, the fact that these musical passages were quoted from the Tones This is mentioned in the research presented by the English scientist Henry George Faro, and these are often found in Latin musical compositions that contain many Arabic terms. These Latin works date back to the eleventh century and were found in Mount Cassino, where the Arabs lived.

In another chapter of her book, Dr. Segrid refers to Fadl Zriab on Europe from another angle, the angle of singing.

In all the European kingdoms, especially in the southern countries, there has been an Arabic Andalusian musical instrument. And many of them moved by their names, which are derived from the Arab origin Kalododh guitar and guitar (Nacaire) or Naker, Adufe, Sonajas, Rebec or Rubebe, Anafil and Ansar (Fanfare), Taber, Tabel, Horn, Corno,

Musical instruments are transmitted only with their music. This is the reality that Europe has been under the invasion of Arab music and its machines, arts and sciences, for several centuries even after the era of reform. The use of the oud was still widespread until the seventeenth century, when the appearance of the piano and its repertoire of the modern European music, after the development of the Harmony flag, became apparent.

As for the rabab and due to the Arabs preferred to revive this type of machines with a bow has also moved from Andalusia to Europe, especially to the southern countries. The first credit was for Zriab, his school and his disciples. Since then, Europe has for the first time known stringed instruments with a bow, around the eleventh century. Here is the beginning of the violin family. The French made a machine similar to the Arabic Rubabe or Rubella, and the Italians made the same machine, called Rubece or Rebec, and it is apparent in all these terms derived from the Word of the Lord. Then these machines spread to Europe in the fourteenth century, and the change was gradually taken up until the end of the fifteenth century. These machines were called "viola", meaning "tendon". In the middle of the seventeenth century, the viola developed, and a smaller machine, called "Violin" or "Violino", was created. This is the machine we now know as the violin or the violin.

It is worth mentioning what Dr. Kurt Zachs, the first professor at the University of Berlin for the history of musical instruments, in a lecture on the history of (piano), he began by saying:

(It is clear that all of our musical instruments originated from the East and moved from Europe to Europe in more than one way.) The only machine that Europe was proud of was its piano machine, but it was also proven to be an Andalusian Arabic. In the French, English and Spanish languages, Echiquier, the Arabic word for the eccentric, was called until the 14th century on a small machine with black and white keys, respectively, placed on the table while playing. This machine is one of the first episodes of the piano. This name has no parallel in the Arab Orient, Believed to be one of the innovations Zeryab in Andalusia).

We did not know in Andalusia, and say that we know in other good in the machines, and increased in tendons, and created in melodies such as Zriab. No one else in Andalusia could imagine attributing this innovation to him. Only the school's creator, innovative styles of singing, inspired by the new hair, scented and improvised.

Arabic Music Flags
Muhammad Abd-alwahab
Sayed Darwish
Farid al-Atrash
Riad al-Sunbati
Assi Rahbani
Hedi El Gueny
Umm Kulthum
Turquoise
Asmahan
Aziza Jalal
morning
Attieh of Tunisia
Abdel Halim Hafez
Sabah Fakhry
Mohamed Abdu
Wadih El Safi
The Algerian Rose
George wasouf
Nawal Al Kuwaiti
Amr diab
Majida Al Roumi
Kazem Al-saher
Latifa
Majed El Mohandes