Maqam is the central pillar of Arabic music, a collective cultural product forged over 1,500 years of continuous practice and evolution. It extends far beyond mere musical scales and incorporates variable, microtonal intervals, characteristic phrases, modulation possibilities, and an inseparable connection to specific moods and states of musical ecstasy.
As a medium, maqam is unique in the way it directly points to the moods it holds within its intervals and expresses through its many tools.
In my research, I found that the moods evoked by maqam are frequently mentioned and instantly recognizable to listeners. However, the precise relationship between specific maqamat (pl. of maqam) and the moods they evoke is surprisingly understudied, and often dismissed as too subjective and elusive. Despite this, detailed discussions of maqam-induced moods are common among music students, teachers, performers, writers, and experienced listeners.
In my research, I found that the moods evoked by maqam are frequently mentioned and instantly recognizable to listeners. However, the precise relationship between specific maqamat (pl. of maqam) and the moods they evoke is surprisingly understudied, and often dismissed as too subjective and elusive. Despite this, detailed discussions of maqam-induced moods are common among music students, teachers, performers, writers, and experienced listeners.
With this in mind, I wanted to understand:
How can one maqam be consistently described as both solid and joyful and another sorrowful and reminiscent of death?
How can one maqam invoke ideas of love without the need for lyrics, and another summon images of specific landscapes?
How can moods be conceptualized across different maqamat?
And which elements external to maqam aid in forging these associations?
My research explores these complexities, integrating an extended literature review and expert interviews. I examine maqam's characteristics, as well as its relationship to further semiotics, and the effects of cultural and musical influences.
Realizing the importance of extended listening, in approaching this subject, I included in my work 23 QR codes and more links that illustrate specific phenomena, moods, and relevant artists.
In this example, performed by the Jewish Iraqi qanun instrumentalist Ibraham Salman (1931-2014), Jins Rast is recognizable to the ear of an experienced listener within the first second of the performance. This as achieved through the use of the hassas-qarar interval.
At minute 03:04, upon feeling tarab ecstasy at the end of a melodic phrase, an excited member of the audience exclaims loudly, in praise: “Oh the beauty of the prophet Moses!”
The study establishes frameworks for categorizing both implicit and explicit characteristics of maqam, including the impact of tarab and saltanah ecstasy states. I also address the role of technology and Westernization within this tradition.
Overall, I push towards a flexible and comprehensive understanding of maqam that respects its historical roots while acknowledging its evolving interpretations and real-life applications, not shying away from the often-overlooked subjective aspects.
Sources: Farraj & Abu Shumays (2019); Touma (2003), Racy (2003), Abu Mrad (2016, 2022), Tran Van Khe (1968)
Thank you!
Thesis advisors:
Prof. Albert Lang
Prof. Daniel D. Hromada
Ali Amhaz, MSc.
Prof. Daniel D. Hromada
Ali Amhaz, MSc.
I extend my gratitude to the experts for their valuable inputs and support: Ziad El-Ahmadie, Firas Andari, Dr. Ghassan Sahhab, Dr. Nidaa Abou Mrad, Oussama Abdel-Fattah, and Dr. Samah Ismaeil.
Many thanks for further support go to Orélia Ponti, Jihad Shokor, Judith Leijdekkers, Raja Tawil, Samer Asakli, Pauline Lunow, Andreas Graeler Basaldua, Halim Matta, Romy Melhem, Alaa Jaber, and Senem Bayar.