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110 – The taqsīm 4

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013-MAQ-A, Mouhamed El Aqqad, Taxim SahlonThe Arab Music Archiving and Research foundation (AMAR), in collaboration with the Sharjah Art Foundation (SAF), presents “Niāmunā al-Mūsīqī”.

 

Dear listeners,

Welcome to a new episode of Niāmunā al-Mūsīqī”.

Today, we will resume our discussion about the taqsīm and its different types.

We will resume the subject started in our previous episode about the taqsīm muwaqqa‘ to a cyclic rhythm.

Some instrumentalists preferred rhythms free from the melodic zanna –for example, the riqq had to be played without any instrument giving the maqām’s fundamental position– notably Dāwūd Ḥusnī, one of the major composers of his generation who made many recordings of taqsīm on his ūd, including the following taqsīm to the bamb/’ushshāq recorded around 1921 by Odeon on one side of a 27cm record, # X-45989, matrix # EX 2443, accompanied by Muḥammad ‘Alī Lu‘ba (percussions)…

(♩)

Muḥammad ‘Abduh Ṣāliḥ

Muḥammad ‘Abduh Ṣāliḥ

Dāwūd’s system is the one that remained after the fallback of the movement of modernization and after the types of taqsīm were mostly limited to taqsīm fālit mursal (free), while some instrumentalists continued to play taqsīm muwaqqa‘ to a cyclic rhythm especially to the bamb, notably qānūnist Muḥammad ‘Abduh Ṣāliḥ who preserved the nature of the Arabic qānūn despite the modernization.

Let us listen to his recording of a taqsīm to the bayyātī, accompanied by Ḥusayn Mu‘awwaḍ (percussions), made on a 33rpm disc produced by Ṣawt al-Qāhira and dedicated to Muḥammad ‘Abduh Ṣāliḥ …

(♩)

The taqsīm mushtarak also appeared as a muwaqqa‘ form and seems, as we mentioned, to have originated from the dialogues between the muṭrib and the instruments after the end of the dawr, or before or after the qaṣīda ‘ala al-waḥda.

At the beginning of the recording era, the taqsīm mushtarak ‘ala al-waḥda did not spark a lot of interest. Still, some samples were found, including a taqsīm mushtarak ‘ala al-bamb between Muḥammad al-‘Aqqād and Ibrāhīm Sahlūn performed to the bayyātī/bamb, recorded around 1908 by Odeon on one side of a 27cm record, # X 45809-1, matrix # EX 1993 A2…

(♩)

The second rhythm that sparked the interest of the instrumentalists in the taqsīm is the aqāq, a 9-pulse’ a‘raj rhythm whose trochee is close the baḥr majzū’ al-ramal’s.

There are also some taqsīm layālī to the aqāq that may have been reflected in live performances, for example as a conclusion to the muwashsha composed to this rhythm, of to dawr composed to it.

As an example of the aqāq, let us listen to a taqsīm to the ḥusaynī performed by Muḥammad al-‘Aqqād and recorded around 1930 by His Master’s Voice on one side of a 25cm record, # 30-4592, matrix # BG 487, accompanied by Sāmī al-Shawwā (kamān) and Maḥmūd Raḥmī (percussions)…

(♩)

 

042-DHS-B, Daoud Husni, Taqsim Oshaq Wahda 041-MAQ-B, Mouhamed El Aqqad, Taqsim Husayni Aqsaq

 

Dear listeners,

We have reached the end of today’s episode of “Niāmunā al-Mūsīqī”.

We will meet again in a new episode to discuss the different types of taqsīm.

“Niāmunā al-Mūsīqī” is brought to you by Mustafa Said.

 

  2015  /  Podcast  /  Last Updated May 7, 2015 by Naji Zahar  /  Tags:
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