I could very simply connect my 'results' to my questions, yet this approach to the topic does not do the music justice nor does it mirror my aim and experience with the music, that I went through during the process of this research.
Yes, I found strategies to approach the music and its practices by myself, more independently: how to enter a world, which traditionally has been transmitted orally, in a modern world without the help and guidance of a 'traditional' teacher. I recognized the additional obstacle of being an adult and the fact, that being a trained musician is not only an advantage. To some degree I need to overcome and challenge the ways I learned to learn music to be able to receive and adapt to the knowledge which is before me and in my very hands by holding an instrument, that grew in and through a specific way in music.
I gained also more understanding of the matter of what I might be dealing with. Not simple verbal or abstract descriptions of it, but rather an inner map of points, moods, events, tones while hearing and playing the music. There is a recognition in process.
But all the words in response to what I have learned will be secondary and weak to the actual knowledge, that shows itself in non verbal ways.
I realize more and more that, though it is smart to be organized, goal oriented and focused, there are certain aspects, that one simply can't force, can't reach through practice alone...
It should be 'clear' of course, but I think, that some ways in which I was used to, some influences I have had, are still the ones, that find their ways into my approach... as if I'm a soldier, my drill ordered by the major to build up the highest standard of accuracy, but never question or reflect upon anything...
My direct experience is, that especially the music I am dealing with here is not 'conquerable' in that regard... just as the silence between phrases sets the ear back to engage fully in a new phrase, maybe a new color, in the same way something happens while I do not play, do not imitate, do not memorize.. after I listened, maybe after a walk, or a nights sleep or a day or two with little practice or practice in other areas, suddenly an understanding or a more integrated way of dealing with the ideas I consumed and engaged with resurfaces - one, that I wasn't aware of having or being, but that suddenly seems to become a part of me.
It is somewhat clear to me, that this part of music making, which is improvisational, but has a collected vocabulary and has a set of common pathways/stories to be told needs a very different mindset... it's a mindset of curiosity, engagement and an active listening process... to find my ways through a small number of notes, related, and not get lost, my participation in those single notes condensed must be stronger... there are endless ways to color and express those tones... which in itself is so awe-inspiring for me.
In this process it is really this approach, that I am learning for myself. Not simply adapting a musical culture and heritage, but rather trying to grasp a sense of embodiment, and a sense of self-expressions and liberty within an already curved path. These aspects of relating and engaging in music, in melodybuilding, are not limited to the space of Levantine music tradition... to me simply, the model of it, is one, that is very impressive and speaks to me on a very personal level.
As Ross Daly said in a conversation: to learn Maqam and Taqsim, one must ABSORB the music, the phrases, the material.
It needs to become part of my body, a memory on a less present state of consciousness.
The process, that I now will be aiming at is simple, yet time consuming and slow: learning repertoire and taqsims by ear, one by one, analyzing them in my head, on paper, on my instrument. Listening to, surrounding myself by the sound, that is attached to my instrument, recreating a natural environment. Memorizing full phrases by repetition, with the respective ornaments. Learning the language, imitating like a child, imitating, singing, imitating. Giving myself time to process, unwind, forget and come back. Living with the music and creating meaning on multiple levels. Recognize patterns as a child learns to speak. Let it become part of my life and part of my body and let my brain create the map and structures necessary to express myself and a whole history through it with TIME.
First instrument: Classical Violin → bound to musical notation.
Later then I studied historical performance practice with focus on Medieval and Renaissance music.
In that time for three years among other I studied:
I gained experience and understanding, that I was not fully aware of, when I began this journey.
My understanding of what I am and try to deal with is not limitable to my perspective of it, that stems from my personal background, experiences, capacities and limitations.
I can not simply put a construct of 'classical music' to another music, that I am trying to learn, play, feel, connect to, embrace holistically, also in its expression of identity to some degree.
We can use existing words, as they established themselves to make a round, like 'tonic' and 'modulation', but they still are weak in describing, what happens in the actual music, as they are bound by the limitations of understanding as chained to another existing tradition.
My initial questions, do not need to be my actual questions, for the actual thing I take interest in, is my own musical and human transformation, that I undergo by engaging and interacting with the instrument and the music itself. My questions deepen, disappear, change, they too, are in a constant flow and change responsive to my experiences.
I might have answered some of the questions, I was trying to pose initially, but for the bigger part of the journey and process I came to more consciously understand, that those initial questions were also substitutes for much more universal questions I have about myself, the world and music.
Music is my way of experiencing the world. Modal and maqam music is my current personal model of engagement and understanding it. 'Bayati' within this research has been a model to independently finding my ways into this field: discovering my own weaknesses and struggles, learning to face them, learn to develop and experiment with strategies.
The real aim never has been to play 'taqsim' and certainly not to become an 'Arabic musician of the 1950ies'. Way more, to come closer to a whole spirit of cultural and musical expression in the way, in which my engagement with it, gives me a chance of understanding more of myself, the world around of me and the way I or somebody else is communicating through music.
My Study in Medieval and other early musics and their historical performance practice INFORMED the way I approach a musical style, genre and 'tradition' in a holistic manner, trying to understand the world and mindset from which the music originated.
Subjective circumstances, HOW I came to the 'tradition'/music can determine the meaning and the role it has in my life.
Based on historical context: ideas, which might resonate as a connotation, when using the word 'tradition' to be conscious about:
- resist change / 'set in stone'
- oppose 'progress' and 'modernity'
- conservating / museal
- implying 'ancient history'
- identity creating or implying
(f.i. national identity → instrumentalized) - simple vs. complex / primitive vs. civilized
- oral/aural as opposed to 'literate'
- reductive (in an orientalist sense) 3
- anonymous - unknown origins,
authors, interpreters - 'low class' vs. 'bourgeoisie/nobility'
- folkloristic (as devaluation/ less, than 'educated')
It is impossible to learn taqsim playing without dealing with the ear and hearing.
I have been told to note down and memorize a certain 'taksim' to have it ready to be performed ad hoc, if needed. But this method seems to me just a starting place, and one possible entry point, to actually 'play' a taksim - tell a story in a given moment, in my own words, with the variations, that come up in the given situation.
On a wider scale, one of the methods i am using: hearing, anaylsing, understanding and memorizing taksims and layalis of famous, accomplished musician in the style - is exactly this.
"Maqam as a descriptive system to perserve music in the Q'ranic or sacral Tradition."
"Since writing the melodic line is not accepted, the chanters had to find how to describe the structure of the melody, to be able to memorize the motion. As mentioned before the exact repetition of the melody is not the goal, actually what is important is the mood intended to create. The consequence of this method was a huge amount of names and formulas, that are memorized by practice, and could be a very practical way to summarize melody and perserve it in a few words. A skilled chanter would know the melodic structure of the recitation, which would sound like a kind of improvisation to the listener." 8
In Analysis I found the system, as Sami Abu Shumays applies on his page, a very helpful visualisation tool. Here is an example by him of Ah Ya Hilu sang by Mohamed Kheyri.
In reality I tend to visualize in positions on the Oud rather, when it comes to Ajnas, but this method seems suitable for general comunication.
Riad Al Sunbati is an important figure within the history of Arabic music and important to Oud players for his innovative at the time Taqsim recordings, which today still radiate unachieved mastery.
The Oud since has been a main expression of Taqsim performance and Taqsim recordings on the Oud outweight all of the other instruments. 11
In this exersize I started to use my voice more, as a tool to lead me melodically, so, that the phrases become more coherent. Being led by ones physical mechanics and habits can lead to melodies and movements, that are deprived of musical essence. One of the many goals is to develop a stronger connection between one's voice, imagination and the hands.
JAMIL BASHIR MOHAMMAD MATAR MOUNIR BASHIR
- other reference Taksims in Maqam Bayati
Nour Al Houda - Ya Jarata Al Wadi
Different styles of Taqsim playing from highly recognized musicians I have analyzed and listened to, Sunbati's Taqsim being my main reference for a foundation structure of a Taqsim and the Maqam Bayati.
I have interviewed different players and practicioners of Arabic and Maqam Music in various stages of experience. All of the conversations has been eyeopening and helpful in my journey.
I was able to draw connections and similarities between each of my conversation partners and position myself within their revelations. Their experiences, approaches, understandings or struggles, helped me to guide me through my own questions, understanding, how my individual path makes part of a wider phenomen or expression.
The apparent identity of transitions stood out significantly to me. Although I tried to group players into different 'categories' - in the end I have came to realize, that there is not one single prevelent story and each one has their individual path with the instruments or music, but we also share aspects of our experiences.
I would love very much to continue and also ellaborate on this direction, since it strengthened my sense of an understanding. I believe, since 'Isolation' was one of the common challenges named, we could gain through connecting in a fruitful way.
I still have a few Interviews scheduled and somewhat would like to expand in this direction in the future.
Çeçen Kızı is a famous short piece by Tanburi Cemil Bey, an important Ottoman Composer, which is in Maqam Husseyni - a variation of Bayati, that has the Ghammaz ('Dominant') on the fifth, not on the fourth. The flavor of 'Husseyni' can be heard in Taqasim in Bayati as a possible path.
I wish to more actively work with composition, that I did not come to enough during recent months. I first had to put all my energy into starting the process while figuring out a 'how to best'. Next step will be to experiment with translating compositions into improvisations and improvisations into compositions and get a fresh and open approach to my compositional practice and creativity.
Sami Abu Shumays is co-author of Inside Arabic Music, who covered the theoretical chapters on maqam. It is a recent publication from 2019, that tries to give a practical approach to the actual phenomens within maqam and taqsim, not just repeating theoretical concepts as derived from Greek theory.
It aims at practicing musicians and people like me, who grow up without being emerged in maqam music and it has helped me with understanding greatly.
Everyone appearing in the exposition have expressed their consent to be included with audio&video in the publication.
The interviews make part of my research and every person involved has given their agreement to have parts of the interviews published on researchcatalogue as part of my exposition.
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