6.2 Forms and Genres: Muwashshah, Qasida, and Sama'i
3 min read•august 6, 2024
Arabic classical music features unique forms like , , and . These styles blend poetry, melody, and rhythm in distinct ways. Each form has its own structure and characteristics, reflecting the rich musical traditions of the Arab world.
Muwashshah and Qasida are poetic forms set to music, while Sama'i is an instrumental genre. They all use (melodic modes) and (rhythmic patterns) to create complex, expressive compositions that showcase the depth of Arabic musical heritage.
Muwashshah and Qasida Forms
Structure and Characteristics of Muwashshah
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- Muwashshah is a strophic poetic form that originated in (Islamic Iberia) during the 10th century
- Consists of a series of stanzas, each with the same rhyme scheme and metrical pattern
- Stanzas are typically composed of 5-7 lines, with the last line of each stanza sharing a common rhyme throughout the poem
- Often set to music and performed by a soloist or small ensemble, accompanied by instruments such as the (lute) and (tambourine)
Structure and Characteristics of Qasida
- Qasida is a prestigious and highly structured Arabic poetic form that dates back to pre-Islamic times
- Typically consists of three main sections: (romantic prelude), (journey or quest), and (praise) or (satire)
- Each line is divided into two (half-lines) with a consistent meter and rhyme scheme throughout the poem
- Qasidas are often lengthy, with some reaching over 100 lines, and cover a wide range of themes, including love, praise, satire, and moral or philosophical reflections
Strophic Form and Maqam in Muwashshah and Qasida
- Both Muwashshah and Qasida employ a , meaning they are composed of multiple stanzas with a repeating structure
- Strophic form allows for the development of musical and poetic themes throughout the composition
- Maqam, the system of melodic modes used in Arabic music, plays a crucial role in the musical setting of Muwashshah and Qasida
- Each Maqam has a unique set of notes, intervals, and melodic phrases that evoke specific emotional states and are associated with particular poetic themes
Sama'i Form
Structure and Characteristics of Sama'i
- Sama'i is a popular instrumental form in Arabic classical music, often performed as a standalone piece or as part of a larger suite
- Typically consists of four main sections called , each followed by a refrain known as the
- Khanas are composed of 8, 12, or 16 measures, with each khana featuring a different melodic theme and increasing in complexity and ornamentation
- Taslim serves as a unifying element, returning after each khana and providing a sense of resolution and familiarity
Role of Iqa' and Taqsim in Sama'i
- Iqa' refers to the rhythmic modes used in Arabic music, which provide the underlying pulse and structure for the Sama'i form
- Each Sama'i is set to a specific Iqa', such as (10/8), (3/4), or (3/8)
- is an improvisational section that often precedes the Sama'i form, showcasing the skills of the lead instrumentalist
- In a taqsim, the soloist explores the maqam of the upcoming Sama'i, creating a sense of anticipation and setting the mood for the composed piece
Ensemble Performance and Improvisation in Sama'i
- Sama'i is typically performed by a traditional Arabic ensemble, which may include instruments such as the oud (lute), (zither), (flute), and riq (tambourine)
- While the composed sections of the Sama'i form the backbone of the piece, musicians often incorporate and ornamentation within the framework of the maqam and iqa'
- Soloists may take turns showcasing their skills during the khanas, adding their own unique interpretations and embellishments to the melodic themes
- The interplay between the composed elements and the improvised passages creates a dynamic and engaging performance that highlights the creativity and virtuosity of the ensemble
Key Terms to Review (24)
Al-Andalus: Al-Andalus refers to the territories on the Iberian Peninsula that were under Muslim rule from the early 8th century until the late 15th century. This historical period saw the flourishing of cultural and intellectual exchange, heavily influencing the development of music, art, and science in Europe, particularly in Arab classical music and its various forms and genres.
Hemistichs: Hemistichs are half-lines or segments of a line in poetry, often used to create a rhythmic structure and emphasize particular themes or ideas. In the context of Arabic poetry and music, they serve as a key structural element that helps define the overall form and flow of works like the muwashshah, qasida, and sama'i. The interplay of hemistichs in these genres contributes to their melodic and lyrical qualities, influencing how the audience engages with the text.
Hija': Hija' is a poetic form that originated in Arabic literature, characterized by its complex rhyme schemes and rhythmic patterns. It is often used in various poetic genres, notably in the muwashshah and the qasida, where it showcases themes of love, nature, and existential reflections. The structure of hija' allows poets to express intricate emotional states while adhering to strict metrical rules, making it a significant element in the musical and poetic traditions of the Middle East.
Improvisation: Improvisation is the spontaneous creation of music in real-time, allowing musicians to express creativity and individuality within established musical structures. It plays a significant role in various musical traditions, where artists respond to the rhythms, melodies, and emotional content of a piece, adding their own interpretations and variations.
Iqa': Iqa' refers to the rhythmic cycles used in Middle Eastern music, which serve as foundational frameworks for compositions and improvisations. These rhythmic patterns consist of specific sequences of beats that help to structure the music, guiding performers in their interpretations and interactions. Understanding iqa' is essential for grasping how rhythm influences various forms of Middle Eastern music, including poetry, dance, and ensemble performance.
Khanas: Khanas refer to the musical forms used in Middle Eastern poetry, particularly within the structure of the muwashshah and the qasida. These forms highlight a blend of Arabic classical music and lyrical poetry, allowing for intricate melodic development and rhythmic patterns that enrich the musical experience. Khanas serve as a vital component in the performance context, where vocalists interpret and convey the emotions and themes embedded within the poetry.
Madih: Madih is a poetic form that expresses praise, often dedicated to the Prophet Muhammad or revered figures in Islamic culture. This genre is characterized by its lyrical quality, often performed in a musical setting, and frequently showcases elaborate rhyme schemes and rhythmic structures, contributing to its aesthetic appeal in Middle Eastern music.
Maqam: Maqam is a system of melodic modes used in Middle Eastern music that serves as the foundation for composition and improvisation. Each maqam consists of specific intervals, characteristic phrases, and emotional qualities that guide musicians in their performances, connecting them deeply to the cultural and historical contexts of the region.
Muwashshah: A muwashshah is a poetic and musical form originating in Al-Andalus (medieval Spain) that combines Arabic and Romance languages, characterized by its complex structure and rich musical elements. This form showcases intricate rhythms and melodies, often reflecting themes of love and longing, connecting to various aspects of Middle Eastern music through its fusion of poetic expression and musical performance.
Nasib: Nasib refers to a poetic form that expresses themes of love and longing, often featuring a lament for lost love or unfulfilled desire. It typically serves as an introductory section in various genres of Arabic poetry, such as muwashshah and qasida, and is characterized by its emotional depth and lyrical quality.
Ney: The ney is a traditional Middle Eastern wind instrument made of cane, characterized by its simple yet elegant design and rich, soulful sound. This instrument plays a significant role in various musical traditions across the Middle East, particularly in genres like Sufi music and classical Arabic compositions.
Oud: The oud is a traditional Middle Eastern string instrument that resembles a lute and is known for its pear-shaped body, short neck, and lack of frets. It plays a crucial role in various musical styles across the region, serving as a fundamental instrument for both improvisation and composition.
Qanun: The qanun is a traditional Middle Eastern string instrument, resembling a zither, played by plucking strings with the fingers or using plectra. It is integral to various musical styles across the region, embodying rich cultural expressions and often found in ensembles, enhancing the modal systems and genres of Middle Eastern music.
Qasida: Qasida is a form of Arabic poetry that often expresses deep emotion, typically focusing on themes like love, nostalgia, or praise. It's characterized by its formal structure, usually written in a single meter and rhyme scheme, which makes it distinct within the rich tapestry of Middle Eastern music and poetry. Qasida serves as both a literary form and a musical genre, connecting traditional poetry with performance practices in various cultural contexts.
Rahil: Rahil refers to a specific melodic mode or maqam used in Middle Eastern music, often associated with expressing deep emotions such as longing or sadness. This mode is significant in various musical forms and genres, enhancing the expressive qualities of compositions like muwashshah, qasida, and sama'i, where its unique intervals and tonal structures evoke particular feelings and narratives.
Riq: The riq is a traditional Middle Eastern percussion instrument resembling a tambourine, characterized by its circular frame and jingles. It's commonly used in various musical genres, enhancing the rhythm and texture of performances while also playing a vital role in dance music and ensemble settings.
Sama'i: Sama'i is a specific musical form and rhythmic pattern characterized by a unique 10-beat cycle, which is significant in Middle Eastern music. This structure is often associated with instrumental compositions and is a vital part of the classical repertoire, illustrating the intricate connection between rhythm, melody, and cultural expression in the region.
Sama'i darij: Sama'i darij is a specific musical form within the sama'i genre, characterized by a distinct rhythmic and melodic structure that reflects the improvisational nature of Middle Eastern music. It typically features a 10/8 time signature, allowing for a lively and complex interplay of rhythm and melody, which is crucial for performance and composition in this musical tradition. The sama'i darij is often performed in instrumental settings, showcasing the virtuosity of musicians and the emotional depth of the music.
Sama'i sarband: The sama'i sarband is a specific musical form within the larger genre of sama'i, characterized by its unique rhythm and structure. Typically, it consists of an instrumental section followed by a vocal part, often performed in a traditional Middle Eastern style, highlighting intricate melodic patterns and improvisation.
Sama'i thaqil: Sama'i thaqil is a traditional form of instrumental music in the Middle Eastern musical repertoire, characterized by its distinctive rhythmic patterns and structure. It typically follows a 10-beat cycle that emphasizes specific strong and weak beats, creating a unique musical phrasing that is both intricate and expressive. This form is often performed in a modal context, aligning with the larger traditions of sama'i, which is known for its improvisational elements.
Strophic form: Strophic form is a musical structure where the same music is repeated for each stanza or verse of a song, creating a straightforward and cohesive listening experience. This repetitive nature allows the lyrics to take center stage while maintaining an accessible melody that can evoke emotional responses. It is a common format in various music genres, providing both simplicity and familiarity to the audience.
Taqsim: Taqsim is a musical improvisation that showcases the performer’s skill and creativity, typically within the framework of a maqam. It is characterized by its free-form structure and can occur in various contexts, highlighting both regional variations in modal systems and the essential characteristics of Middle Eastern music.
Taslim: Taslim refers to the musical gesture of finality or conclusion in Middle Eastern music, often marked by a distinctive rhythmic pattern or melodic phrase. This term is significant in the context of various musical forms and genres, as it denotes the end of a piece, bringing closure to the performance. Understanding taslim helps to appreciate the structure and emotional journey within compositions like the Muwashshah, Qasida, and Sama'i, where it serves to signify resolution.
Vocal ornamentation: Vocal ornamentation refers to the artistic embellishments and decorative techniques singers use to enhance the expressiveness of a melody. This technique is significant in various musical forms, as it adds emotional depth and complexity to vocal performances. It often includes techniques such as trills, runs, and melismas, which are crucial for interpreting traditional Middle Eastern music styles effectively.