Labor Day (no class) Rosh Hashanah (no class)

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1 Cornell University Middle Eastern Music Ensemble Fall 2015 Joseph Prusch, Director Ensemble Website: cmeme.arts.cornell.edu Lincoln Hall B21 Weekly Subjects Aug 31 Overview of Middle Eastern Music -'iqa'at (usulu) -maqamat (makamlar, dastgah) -sharqi (şarqı, sharki) -the rules of taqsim (taximi, taksim) -alphabets, transliteration, and pronunciation; naming conventions al-farabi, Abu Nasr Muhammad ibn Muhammad. Kitâb al-musiqi al-kabir. Frankfurt: Institute for the History of Arabic-Islamic Science at the Johann Wolfgang Goethe University: Marcus, Scott. Modulation in Arabic Music: Documenting Oral Concepts, Performance Rules and Strategies, Ethnomusicology vol. 36 (1992), no. 2, pp Sept 7 Sept 14 Labor Day (no class) Rosh Hashanah (no class) Sept 21 Sacred Music of the Middle East -Ancient Egypt -Ancient Hittite -Ancient Sumerian/Akkadian -nomadic Hebrew music arises out of Egyptian and Akkadian traditions -Tengrism -Christian music, the Pentarchy -early Islamic poetry/music -Mevlevi music -Alevi ceremonial dance and music Burney, Charles. A General History of Music: from the Earliest Ages to the Present Period (1789 version). New York: Dover, al Faruqi, Lois. Accentuation in Qur'anic Chant: A Study of Musical Tawazun, Yearbook of the International Folk Music Council vol. 10 (1978), pp Sept 28 The Levant & Southeastern Pontos -Levantine Music: Lebanon, Syria, Jordan, Iraq, Kurds, Alevi -Southeastern Pontos: Laaz, Georgian, Armenian, Ossetian, Baloch, Azeri Shannon, Jonathan H. Among the Jasmine Trees: Music and Modernity in Contemporary Syria. Middletown, CT: Wesleyan University Press, 2006.

2 Oct 5 Music of the Hebrews and Jews -ancient Hebrew instruments: -Tehillim (Psalms) compiled under King David -correlations to West Africa -Jewish diaspora in the Middle East: -Persia -Khazar conversion to Judaism -Ladino (murrano) -Ottoman -Yemen -Jews in Islam -modern Israeli music Cohen, Joel & The Boston Camerata. The Sacred Bridge: Jews and Christians in Medieval Europe. Elektra, Erato, Kligman, Mark. Maqam and Liturgy: Ritual, Music, and Aesthetics of Syrian Jews in Brooklyn. Detroit, MI: Wayne State University Press, Rothmüller, Aron Marko. The Music of the Jews: An Historical Appreciation. New York: The Beechhurst Press, Sapoznik, Henry. The Compleat Klezmer. Cedarhurst, NY: Tara Publications, Oct 12 Fall Break (no class) Oct 19 Music of Modern Egypt -Ottoman influence on modern Egyptian music -relationship to N. Africa and the Levant -Egyptian influence on American hip-hop culture Danielson, Virginia. The Voice of Egypt: Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century. Chicago: University of Chicago Press, Hammond, Andrew. Popular Culture in the Arab World: Arts, Politics, and the Media. New York: The American University in Cairo Press, el-shawan, Salwa. Traditional Arab Music Ensembles in Egypt since 1967: the Continuity of Tradition within a Contemporary Framework, Ethnomusicology vol. 28 (1984), no. 2: pp Oct 26 Music of the Ottoman Empire -Turkish migrations: origins in Central or NE Asia -origins of the baglama -Peşrev form -unique usulu -Persian influence (e.g. al-farabi) -talent-based classical musical system allowed for women and minorities Feldman, Walter. Music of the Ottoman Court: makam, composition and the early Ottoman instrumental repertoire. Berlin: Verlag für Wissenschaft und Bildung, Sieglin, Angelika. Untersuchungen zur Kompositionstechnik in den Peṣrev des Tanburi Cemil Bey. Hamburg: Verlag der Musikalienhandlung K. D. Wagner, 1975.

3 Nov 2 Persian Music -connections to India -relationship to Central Asian music -Dastgah & Avaz -heavy influence on early Islamic culture, especially Turkey -spread of the harp -yuruk semai -Revolutionary restrictions on music Alizadeh, Hossein, Afsaneh Rassa'i, and Madjid Khaladj. Musique Iranienne: Saz-e No. Paris: Buda Musique, Blum, Stephen. Persian Folksong of Meshhed, Yearbook of the International Folk Music Council vol. 6 (1974), pp During, Jean. Music, Poetry and the Visual Arts in Persia. Basel: International Music Council, The World of Music, vol. 24 (1982), no. 1, pp Farhat, Hormoz. The Dastgah Concept in Persian Music. Cambridge: Cambridge University Press, Omoumi, Hossein and Madjid Khaladj. Persian Classical Music. BMG/Nimbus Records, Nov Denise Harvey, Mundi France, Nov 16 Greek Music: Ancient, Classical, & Modern -Mount Athos -Byzantine chant -rebellion against Ottomans -rebetika Choir Of Monks From The Monastery Of Simonos Petra. Hymns of Mount Athos. Jade/Milan, Holst(-Warhaft), Gail. Road to Rembetika: Music of Greek Subculture. Limni, Evia, Greece: Paniagua, Gregorio & Atrium Musicae de Madrid. Musique de la Grece Antique. Harmonia Petropoulos, Elias. Songs of the Greek underworld: the Rebetika tradition. Saqi: London, Ancient Arabian and Early Islamic Music; the Raj Movement -origins in Greek academic culture -Syrian Christian (Maroni) Sacred Music (maqamat) -classical Arabic theory sources -Reconquista: 711(or 718) influence on W. European classical music -Muwashshah diaspora -classical Arabic rhythm in Latin music -the emergence of Raj in Algeria Al Faruqi, Lois Ibsen. Muwashshah: A Vocal Form in Islamic Culture, Ethnomusicology vol. 19 (1975), no. 1, pp1-29. Rachid Aous; Mohammed Habib Samrakandi. Horizons maghrébins: le droit à la mémoire. Toulouse: Presses Université du Mirail, Schade Poulsen, Marc. Men and Popular Music in Algeria: The Social Significance of Rai. Austin: University of Texas Press, Shehadi, Fadlou. Philosophies of Music in Medieval Islam. Leiden/New York: E.J. Brill, Zayyadine, Fawri. The Umayyads: The Rise of Islamic Art. Amman: Arab Institute for Research and Publishing, 2000.

4 Nov 23 The Nomads & Khaleej -Nomads: Roma, Bedou, Pashto -Khaleej (Arabia) -samri tradition -Kuwait -Yemeni singers Kemani Cemal. Sulukule: Rom Music of Istanbul. Traditional Crossroads, Nov 30 Modern Turkish Music & The Ottoman Musical Diaspora -repression of Ottoman culture -looking Westward/Euro-integration-Bulgarian/Macedonian -Serb -Romanian -Greek -Egypt and the Hijaz -Mesopotamia and Persia (Armenia, Azerbaijan, Iraq, others) Rice, Timothy. May it Fill Your Soul: Experiencing Bulgarian Music. Chicago/London: University of Chicago Press, Kaplan, Robert D. Balkan Ghosts: A Journey Through History. New York: St. Martin's Press, Koutev, Philip & the Bulgarian State Radio and Television Female Vocal Choir. Le Mystère des Voix Bulgares. New York/Los Angeles: Warner Communications/Elektra/ Assylum/Nonesuch Records, Taraf De Haïdouks. Taraf De Haïdouks. (compilation) New York/Los Angeles: Warner Communications/Elektra/ Assylum/Nonesuch Records, 1999.

5 General Resources cmeme.arts.cornell.edu (click the daf in the upper left to access the CUMEME archive) Grove Music Online (database via library.cornell.edu) Ethno-musicology Online (database via library.cornell.edu) Main Performances: November 11, 8pm, Barnes Hall December 5, 8pm, Watermargin (date may be subject to change) Open Dancing and Drumming: September 30, 8pm, Sacred Root Kava Lounge (Cornell Daily Sun Building) October 28, 8pm, Sacred Root Kava Lounge (Cornell Daily Sun Building) November 25, 8pm, Sacred Root Kava Lounge (Cornell Daily Sun Building) December 30, 8pm, Sacred Root Kava Lounge (Cornell Daily Sun Building) Other Engagements: September 6, 1pm, Barton Hall: Clubfest September 19, 7:30pm, 855 Taughannock Blvd.: Radwan & Julia's CUMEME Jam Party October 1, 6pm, La Tourelle Resort: Firelight Camps Ethical Travel Association Repertoire Selection I will be happy to accept suggestions for songs to learn and sing in the group. Musical works will get priority consideration for how much they diversify the group's perspective, in particular: 1) uniqueness of geographic or ethnic origin, 2) uniqueness or rarity of maqam (makam) or iqa' (usul) in the CUMEME collection, 3) associated composers or performers of the work and their historical relevance, 4) subject matter of the lyrics in historical or cultural terms, and 5) artistic cultural value of the lyrics. Course Materials CUMEME aims for the same professional academic standards as other music ensembles. Each member is responsible for bringing his or her own instrument(s) as well as music charts. If you cannot read music, please try to ask questions and pick it up in class as much as possible, but always bring charts and a pencil (not a pen) to mark them with notes and corrections. If you prefer to go paperless, all charts will be made available online (see link above under General Resources).

6 Class Participation Our main purpose here is to teach one another what we know about our own cultures. Members' insight on historical or sociological issues is necessary and will be appreciated by all. Don't be shy in sharing your thoughts. Each of you is an expert with subject matter we all want to know. To participate with the group, try to sing and clap at the very least. Some pieces are learned and sung to help the singers learn the anatomy of maqamat (makamlar or dastgah), which improves the quality of singing and helps instrumentalists improve their ability. Clapping helps study the rhythmic cycles, which increases the power and artistry of both singers and instrumentalists. If you would like to try to learn an instrument from the Lincoln Hall collection, you are welcome to try. Just talk to me or Greg Ezra. To take an instrument home for further practise, you will need to sign an agreement. There are two ways to engage with the Ensemble on an academic level: a formal talk or translating lyrics. If you feel you can bring perspective to any of the weekly subject areas, please see me to request that date for your talk. We will also need help translating our lyrics for the concert, so feel free to volunteer to create English translations for your favorite songs! Extra Assistance I will be happy to provide extra time to ensemble members looking to improve skills in the performance of any instrument or voice, or the reading of music. Experience and auditions are not required, and I am happy to help improve the abilities of any interested student. Academic Credit Since the Middle Eastern Music Ensemble is no longer offered as a for-credit course, you may ask a professor if he or she would be willing to accept your work for the ensemble as an independent study under him or her. That professor may require you to do more work, e.g. write a formal paper, in order for you to receive credit. Rehearsal Location All sessions will be held in Lincoln B21 unless otherwise notified. The group will be notified the week prior if the location changes, and a sign will be posted on the door of Lincoln B21. Rehearsal Format Closer to performance dates, the rehearsals may become more orderly, but in general I will try to strike a balance between music rehearsal and the discussions we have about performance practise. This may be different from other musical ensemble rehearsals. This atmosphere is necessary for the study of performance practise.