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s may have had arabian origins with magda bogin stating that the arab poetic and musical tradition was one of several influences on european courtly love poetry 36 évariste lévi provençal and other scholars stated that three lines of a poem by william ix of aquitaine were in some form of arabic indicating a potential andalusian origin for his works the scholars attempted to translate the lines in question and produced various different translations the medievalist istvan frank contended that the lines were not arabic at all but instead the result of the rewriting of the original by a later scribe 37 the theory that the troubadour tradition was created by william after his experience of moorish arts while fighting with the reconquista in spain has been championed by ramón menéndez pidal and idries shah george t beech states that there is only one documented battle that william fought in spain and it occurred towards the end of his life beech adds that william and his father did have spanish individuals within their extended family and that while there is no evidence he himself knew arabic he may have been friendly with some europeans who could speak the language 37 others state that the notion that william created the concept of troubadours is itself incorrect and that his songs represent not the beginnings of a tradition but summits of achievement in that tradition 38 most scholars believe that guido of arezzo s solfège musical notation system had its origins in a latin hymn 39 but others suggest that it may have had arabic origins instead it has been argued that the solfège syllables do re mi fa sol la ti may have been derived from the syllables of an arabic solmization system durr i mufassal separated pearls dal ra mim fa sad lam this was first proposed by meninski in his thesaurus linguarum orientalum 1680 however there is no documentary evidence for this theory and no arabic musical manuscripts using sequences from the arabic alphabet are known to exist 40 henry george farmer believes that there is no firm evidence on the origins of the notation and therefore the arabian origin theory and the hymnal origin theories are equally credible 41 improvisational music in the arab world edit ethnomusicologist ali jihad racy talks about the improvisation style of music that is present in much of the arab world 42 racy discusses the regional attitudes towards improvisation music in the middle east describing that improvisation can suggest casual or untrained or even non professional music making 42 this is held only by certain communities within the arabic world and can differ from each region or community 42 43 some regions look at improvisation music as the intuitive artistic ability that momentarily expresses the feeling of the player 42 43 other groups tend to view improvisation as though it is the fulfillment of music transcending the classical maqam style or other styles of music playing 42 43 other schools of thought on improvisation music in the arab world believe that improvisation music shows a lack of understanding in musical training 42 racy does not specify which groups have what views rather the discussion is more focused on the idea that the arabic music world is not monolithic in its view on improvisation in music other groups view improvisation as only learned through trial and error taking many years to perfect thus being a style played professionals 42 traditional music ensemble taqsim edit a respected tradition in improvisation music is known as taqsim 44 42 taqsim music uses a maqam and improvises the form or structure of the song which creates a cathartic experience for the listener 42 further the improvisation aspects go beyond the form and are expressed in the quartertones of the song 42 this tradition historically was performed as a chant now it is used by performers on the oud ud violin or nay a type of flute 42 this style of improvisation is known for the effects it can conjure up in a listener 42 listeners may laugh cry and shout at different points in the performance due to the emotions evoked by the music 42 improvisation in chant edit a certain type of arabic chant is in the melismatic style and is both long and highly ornamented 45 it has specific elements of free rhythm and improvisation as part of its structure syllabic chant is isochronic and is accompanied by an al durbkkeh a percussion instrument or drum while being relatively fast in its nature 45 there is usually participation from the listeners who contribute through the clapping of hands to the rhythm 45 ethnomusicologist jargy tells of another type of improvisation music in which he uses the name median 45 this music is a combination of the syllabic chant and the melismatic style median improvisation music uses more extreme improvisation methods and expands the boundaries of improvisation and is usually faster than syllabic chant 45 the last improvisation style discussed by jargy is the recitative style that is sung predominantly by women and is built on aural tradition 45 genres edit franco arabic edit franco arabic music is a form of music similar to modern arabic pop the genre was popularized by artists such as dalida from egypt sammy clark from lebanon and aldo from australia franco arabic music includes a variety of languages including arabic italian french arabic and english 46 arabic r b reggae and hip hop edit main article arabic hip hop a rise of arabic r b reggae and hip hop has been taking place since the early 2010s these songs usually feature a rapper in a traditional arab pop song such as ishtar s song habibi sawah the moroccan singer elam jay developed a contemporary version of the gnawa genre that is fused with r b named gnawitone styla another variation of contemporary gnawa played in morocco was introduced by the band darga based in casablanca the group utilises a mix gnawa and reggae in some of their songs political reggae artists such as tootard from the occupied syrian golan heights started gaining popularity in palestine in 2011 after the release of a song about the arab spring mainly the tunisian revolution called the green revolution it was sung by them and an ensemble of palestinian artists most notable among them being mahmoud jrere of dam another notable arab artist is shadia mansour who is a palestinian british rapper known as the first lady of arab hip hop much of her music focuses on the palestinian cause starting in the 2010s some artists such as darine began to utilise fully r b and reggae beats in their songs this has been met with mixed reviews and mixed commercial performance arabic electronica edit a combination of electronic music with traditional middle eastern instruments has been popularized by richii with songs like ana lubnaneyoun arabic jazz edit arabic jazz using jazz instruments has become popular musicians like samir suroor began to play the saxophone in the oriental style abdel halim hafez kadim al sahir and rida al abdallah also play in this style the first mainstream jazz elements were incorporated into arabic music by the rahbani brothers fairuz s later work was almost exclusively made up of jazz songs composed by her son ziad rahbani ziad rahbani also pioneered today s oriental jazz movement to which singers including rima khcheich salma el mosfi and on occasion latifa adhere we can also find a lot of jazz music in mohamed mounir s songs starting from his first album alemony eneeki in 1977 and he is considered to be the king of arabic jazz and arabic music generally citation needed another notable performer of this genre is the palestinian singer reem kelani who blends jazz with arabic music both in her own compositions and in her arrangements of traditional songs 47 48 arabic jazz has met many new kinds of composition since the end of the 20th century modal forms with anouar brahem and rabih abou khalil mixed electric sound experiences with dhafer youssef and kamal musallam new pop jazz styles with titi robin and toufic farroukh other acoustic youth experiences with hamdi makhlouf amine hamza m raihi and jasser haj youssef arabic rock edit there have been many arab rock bands along the years that fused rock metal and alternative rock sounds with traditional arab instruments arabic rock has been gaining attention in the middle east since the early 2000s with bands such as tanjaret daghet jadal kayan autostrad el morabba3 akher zapheer the wanton bishops mashrou leila adonis and meen cairokee massar egbari sahara wyvern cartoon killerz khalas chaos and acrassicauda all gaining popularity recently there has been a new wave of bands emerging in the underground scene across the arab world these include shaghaf khayal sada that code masr and hawas of egypt and ayloul of lebanon musical regions edit abdel halim hafez 1929 1977 egyptian leading pop star the world of modern arabic music has long been dominated by musical trends that have emerged from cairo egypt the city is generally considered one of the important cultural centers in the arab world innovations in popular music via the influence of other regional styles have also abounded from morocco to saudi arabia in recent years beirut has become an important city where singers can fluently sing in various arabic dialects other regional styles that have enjoyed popular music status throughout the arab world including north africa edit a collection of 1980s raï albums al jeel egypt shaabi music egypt mawwal egypt semsemya egypt andalusian classical music morocco and algeria and tunisia malouf libya chaabi algeria chaabi morocco gnawa morocco and the southwest of algeria haqibah sudan malhun morocco mezwed tunisia raï algeria sanaa algeria malouf algeria bedoui algeria arabian peninsula edit adani dan hadhrami ardah ardham bandari khaliji dazah fann at tanbura fijiri hadhrami music khabayti khaliji khuwizaani lahji liwa mizmar m alayah rumba khaliji samri sana ani sawt shaabi khaliji yanbaawi yowlah zafah khaliji music of yemen sacred and art music edit sacred music edit arabic religious music includes jewish pizmonim and baqashot christian and islamic music however islamic music is structurally equivalent to arabic secular music while christian arab music has been influenced by syriac orthodox catholic greek orthodox anglican coptic and maronite church music 49 art music edit secular art musical genres include maqam al iraqi andalusi nubah muwashshah fijiri songs qasidah layali mawwal taqsim bashraf sama i tahmilah dulab sawt and liwa 50 characteristics of arabic music edit the musician by rudolf ernst much of arabic music is characterized by an emphasis on melody and rhythm as opposed to harmony there are some genres of arabic music that are polyphonic but typically arabic music is homophonic 51 habib hassan touma submits that there are five components that characterize arabic music 52 the arab tone system that is a musical tuning system that relies on specific interval structures and was invented by al farabi in the 10th century 10 rhythmic temporal structures that produce a rich variety of rhythmic patterns known as awzan or weight that are used to accompany metered vocal and instrumental genres to accent or give them form a number of musical instruments that are found throughout the arab world that represent a standardized tone system are played with generally standardized performance techniques and display similar details in construction and design specific social contexts that produce sub categories of arabic music or musical genres that can be broadly classified as urban music of the city inhabitants rural music of the country inhabitants or bedouin music of the desert inhabitants an arab musical mentality responsible for the esthetic homogeneity of the tonal spatial and rhythmic temporal structures throughout the arab world whether composed or improvised instrumental or vocal secular or sacred maqam system edit see also arabic maqam a maqam tone level example the basis of arabic music is the maqam pl maqamat which looks like the mode but is not quite the same clarification needed the tonic note dominant note and ending note unless modulation occurs are generally determined by the maqam used arabic maqam theory as described in literature over the ages names between 90 and 110 maqams that are grouped into larger categories known as fasilah fasilah are groupings of maqams whose first four primary pitches are shared in common 53 ajnas edit main article jins an ajnas tone level example the maqam consists of at least two ajnas or scale segments ajnas is the plural form of jins which in arabic comes from the latin word genus meaning type in practice a jins is either a trichord three notes a tetrachord four notes or a pentachord five notes a maqam usually covers only one octave usually two ajnas but can cover more like the melodic minor scale some maqamat use different ajnas when descending and ascending due to continuous innovation and the emergence of new ajnas and because most music scholars have not reached consensus on the subject a solid figure for the total number of ajnas in use is uncertain in practice however most musicians would agree there are at least eight major ajnas rast bayat sikah hijaz saba kurd nahawand and ajam and commonly used variants such as nakriz athar kurd sikah beladi saba zamzama for example mukhalif is a rare jins in the sikah family used almost exclusively in iraq and it is not used in combination with other ajnas 54 microtones in arabic music edit unlike the tradition of western music arabic music contains microtones which are notes that lie between notes in the western chromatic scale while notes in the chromatic scale are separated by semitones or half steps notes in arabic music can be separated by quarter tones in some treatments of theory the quarter tone scale or all twenty four tones should exist but according to yūsuf shawqī 1969 fewer tones are used in practice 10 additionally in 1932 at the cairo congress of arab music held in cairo egypt and attended by such western luminaries as béla bartók and henry george farmer experiments were done that determined conclusively that the notes in actual use differ substantially from an even tempered 24 tone scale furthermore the intonation of many of those notes differ slightly from region to region egypt turkey syria iraq regional scales edit as a result of these findings the following recommendation was issued the tempered scale and the natural scale should be rejected in egypt the egyptian scale is to be kept with the values which were measured with all possible precision the turkish syrian and iraqi scales should remain what they are 55 both in modern practice and evident in recorded music over the course of the last century several differently tuned es in between the e flat and e natural of the western chromatic scale are used that vary according to the types of maqams and ajnas used and the region in which they are used practical treatment edit m...