الاشكال والانواع الغنائية في الموسيقى العراقية == Forms And Types of Singing In The Iraqi Music
Author name:
زينب صبحي عبد حسين البياتي
Supervisor name:
طارق حسون فريد
General topic:
Fine Arts
Specific topic:
Musical Arts
Degree:
Doctorate
University:
University of Baghdad - College Of Fine Arts - Department Of Musical Arts
Language:
Arabic
University location:
Baghdad
First pages:
18T1214 - p.pdf
Abstract:
تنوعت الاشكال والانواع الموسيقية والغنائية واختلفت وفقا لمعطيات مكانية وزمانية، ومن ثم فهي تبلورت بوصفها محصلة للعلاقة بين العناصر التي تكونت منها : اللحن والايقاع والتعدد الصوتي والطابع الصوتي والنص. وتضم الموسيقى الاشكال والانواع الغنائية بجانبيه | Musical and vocal forms are varied and differed according to spatial and temporal criteria. Forms have been crystallized because of the relationship between constituent elements such as melody, rhythm, harmony, tone colour and text. Music includes forms and types of systematic and popular folk singing. These forms have been changed and developed by time, and new forms were generated according to different cultural, social and artistic influences. Iraqi music is replete with many forms of singing; systematic, popular, secular and sacred. These forms can be divided geographically or in terms of demography. In addition, the overall circumstances and events, through the history of Iraq, have played a role in the crystallization of new and modern forms and types. Moreover, some forms are evolved from older forms that became richer and more complicated than the older version. Furthermore, there are different factors that affect the structure of musical forms and singing types, such as the cultural, social and economic factors. In fact, all that was innovated of singing forms is a true reflection of the reality of the Iraqi daily life and simulation of this life’s different conditions.Forms and types of singing had increased and developed faster than the musical instrumental forms, because the Iraqi musical culture preferred to practice singing forms in their ceremonies. However, unfortunately, these forms and types have never been collected, preserved, documented, archived or studied. Therefore, I have decided to study this topic. This research is important as it presents an academic study of the forms and types of singing in Iraq. In addition, it participates in preserving these valuable forms and types. Moreover, this thesis is the first study of such topic in the academic and musical field. Furthermore, this study will fill the gap in the Arabic musical library and will assist the researchers in this field of study. However, the purpose of this study is to define the structure of the singing forms and types in the Iraqi music. This study will cover the period from 1921 to 1941 in the city of Baghdad; it focuses on the Iraqi mundane forms and types of singing in the Arabic language.The second chapter includes the theoretical framework and the previous studies. The theoretical framework consists of four topics; the first is “the structure of the musical forms and types”, the second is “singing forms before and during the Islamic period”, the third is “music and singing in Baghdad from 1921 to 1941” and the fourth topic is “the analytical standards of the musical and vocal forms”. In the end of this chapter, the results of the theoretical framework were presented. The researcher did not find a previous study that dealt with the topic of this research.The research’s procedures are presented in the third chapter, where the researcher defines the methodology and the samples of the study. The entire sample consists of 112 songs and the randomly chosen samples are 24 songs, which are divided into a specific category according to its types or form. The main tool of collecting the required information was the “Interview technique”. The main tool of the analysis was a specific analytical standard, which was created, tested and applied on the selected samples by the researcher.The results, conclusions, recommendations, suggestions, list of resources, appendices and abstract of this study are presented in the fourth chapter.
