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‫‪IRAQI MAQAM‬‬

‫עבודה עבור קורס‪ :‬מוסיקה פרסית‪2009/10 ,‬‬

‫פרוף‪ .‬אמציה בר יוסף‬

‫ברקאת עבו אפש‪ ,‬מרינה טושיץ'‬

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IRAQI Maqam

Iraqi Maqam is classical vocal tradition of Iraq. It is similar to Arabic

Wasla or Turkish Fasil. It can be described as a kind of musical suite with
number of different parts.

In the rest of the Arab world and Turkey, the word maqam refers to a
musical mode on which compositions and improvisations are based. In Iraq,
maqam refers to the composition itself.

The parts of Maqam Iraqi are:

1-Tahriir (or the Beginning Of maqam)

2-Qita / Awsaal (parts and pieces within)

3- Al-Djalsa "lit. Sitting" is a sound movement or a musical note where a maqam

singer descends to a note at the maqam base in order to ascend to the higher
notes in singing; what is known, in the terminology of maqam, as "mayanat"

4-"Mayanat" refers to the part of maqam singing when a maqam singer uses
high voice layers above the octave note of the original maqam base

5-Tasliim ( the end or conclusion).

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The origins of maqqm Iraqi si unknown, but there are a few

speculations. Some believe that the maqam come to Iraq with Turks 16th
century. Others say that it began during the Abbasid period .

In religion, maqam melodies were used in the call to prayer and in

Qur’anic recitation. Maqam were performed in private homes and coffee
shops.

In the coffeehouses in Baghdad like: Gahwat Shaabander, Gahwat al-

Qaysariya, and Gahwat ‘Azzawi, the Maqam was performed. The performance
could last up to 9 hours.

The vocalist was called the qari’, just like Qur'an cantilation performer.
This was different from "mutrib" or "mug'anni", because the interpretation of
maqam was more spiritual and deep, than just a singing.

In performance of the maqam, the qari’ was accompanied by a four-

piece ensemble, known as a chalghi baghdadi, which consisted of a joza , a
santur , a dumbuk , a riq, and naqarat, very similar to Arabic Takht.

Chalgi ensemble:

Every maqam is a musical recitation of poetry and instrumental parts. In

brakes in the performance of the Qari, the "Paste" (folk) singer would do some
numbers, so the Qari could rest.

The chalgy usually begins a maqam with a short prelude called muqaddama
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al-dulabi. Then the qari starts to sing a tahrir in free rhythm in order to set up
the mode and the mood of a given maqam.

The Baghdadi maqam has about 100 "ad libitum" melodies that every
Qary's interpretation is different. Totally free improvisation does not exist in
maqam performance.

Known qaris were:

Rachid Al-Qundarchi (1887-1945), Youssouf Omar (1918-1987), Nazem Al-Ghazali (1920-
1963), Salim Shibbeth (born 1908), Hassan Chewke (1912-1962), Najim Al-Sheikhli (1893-
1938), Mohammed Al-Qubanchi (1900-1989), Hamid Al Saadi (1959-) and Farida
Mohammad Ali (1963- ).

At Cairo congres in 1932 the Iraqi delegation performed Maqam Iraqi. Those
are the members of the chalgi & qari:

Qari: Muhammad al-Qubbanchi

Santur: Yusuf Hugi Pataw (1886-1976)
Joza: Salih Shumayyil Shmuli (1890-1960)
Qanun: Yusuf Meir Za'rur al-Saghir (1901-1986)
Oud: Ezra Aharon al-'Awwad (1903-1995)
Tabla: Yehouda Moshe Shammas (1884-1972)
Daff: Ibrahim Salih (?)

Iraqi delegation in Cairo, 1932

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All the players were Jews. Prime Minister Nuri al-Sa'id, entrusted the one
efendi (here meaning dressed in European fashion) among them, Ezra Haroun,
known as 'Ezzouri, to dress them in the European style and to train them in
appropriate behavior for such an occasion.

The Iraqi delegation led by maqam performer Muhammad al-Qubbanchi won

the first place and were awarded by King Fuad I.

A funny anecdote was related by Qubbanchi: one evening, while their mentor
'Ezzouri was out, the Iraqi musicians were visited at their hotel by an Egyptian
journalist looking for an interview. He enquired about the state of musical arts
in Iraq. Pataw, evidently mystified by the question, replied honestly in an
archaic Baghdadi Jewish accent. "What art of the graves! We play at weddings,
and people drink and start fighting, and soon knives are flying, and we (the
musicians) hide in the lavatories." This anecdote comically illustrates the clash
between traditional perceptions and practices and the new notion of 'art', which
the Cairo Congress was celebrating. (Sami Zubaida, "Entertainers in Baghdad,
1900-1950", in Eugene Rogan, ed., Outside In: On the Margins of the Modern
Middle East, London: IB Tauris 2002, p212-230)

This are the links the recordings of Iraqi Maqam from Cairo Congres 1932:

Maqam Khanabat - Chalghi al-Baghdadi 1932

http://www.youtube.com/watch?v=vvZ2PgGtMck&feature=player_embedded

Taqsim santur:

Improvisation on the santur in Maqam Taher and Hadidi by master Yusuf Hugi
Pataw as part of the Iraqi delegation to the First Cairo Congress of Arab Music
(Le Congrès du Caire) in 1932. The Maqam Taher is a secondary maqam
derived from the Maqam Jahargah (chahargah) while the Maqam Hadidi is
derived from the Saba.
http://www.youtube.com/watch?v=ARbsOEZGm64&feature=player_embedded
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Taqsim Maqam Lami - 'Azzuri Harun (Ezra Aharon)

First Cairo Congress of Arab Music (1932)
Cairo, Egypt. 78rpm recording:

http://www.youtube.com/watch?v=lcfav5GL6Ns&feature=player_embedded

Taqsim Maqam 'Ushaq

Salih Shummel Shmuli - Joza (kamanceh)
First Cairo Congress of Arab Music (1932)
Cairo, Egypt. 78rpm recording.:

http://www.youtube.com/watch?v=3H0uvUlTRlE&feature=player_embedded

Literature:

http://iraqimaqam.blogspot.com/2009/04/first-cairo-congress-of-arab-music-
1932.html

http://www.faridamaqam4u.com/index_en.php

http://en.wikipedia.org/wiki/Music_of_Iraq

The Music of the Arabs, H.H. Tuma

2009/10 ,‫ מוסיקה פרסית‬:‫עבודה עבור קורס‬

‫ אמציה בר יוסף‬.‫פרוף‬

'‫ מרינה טושיץ‬,‫ברקאת עבו אפש‬