Ambiguities in Arabic Music | Abdul Latif Al-Zubaidi

2023-06-23 20:12:07

Was the last paragraph of the column yesterday: “The Paradoxes of Abstract Ideas” heavy on the Arab ear? Perhaps the issues need clarification, in order to prevent ambiguity and delusion. You must be trained to accept frank criticism. It is not a sin to say that the majority of those involved in Arabic music do not know what are the real ailments that our music suffers from, nor what are the ways to treat them. The majority of practitioners, and please prove the opposite, have nothing to do with the scientific and cognitive methods required for development. It is no exaggeration that there are those in the musical community who think that development depends on adding an electric guitar, saxophone, and trumpet, along with “what happened” décor and a dress that “breaks the world.”

Now let’s separate and separate. What is imprinted in your mind the moment you hear the phrase “Arabic music”? Umm Kulthum, Abdel Halim, Najat Al Saghira will wave to your eyes, and faces will change according to your location on the geographical map. The music scene is occupied by female singers and male singers. The same is true in Iran and Turkey. But what comes to your mind the moment you hear the phrase “Western music”? The names of Bach, Mozart, Beethoven, Vivaldi, Verdi will flash through your brain, with a list from Eastern Europe. When you hear the phrase, you will not jump to the front in front of you the names of Frank Sinatra, Celine Dion, Charles Aznavour, the beetles… By pronouncing Western music as if you said symphonic or classical music, that is, serious music, which has a visa to cross the centuries.

As you can see, the situation in Arab music is wrong, and that is why one of the greatest pioneers of renewal in our music, Muhammad al-Qasabji, agreed to sit as a musician behind Umm Kulthum. Planet of the East is the final command. The biggest intellectual deception we fall into is claiming, knowingly or unknowingly, that Western male and female singers throughout the twentieth century are the kings of theaters. Beware of the naivety of comparison, for the greats of symphony music, who have been in their thousands since the Renaissance, are today more brilliant than ever before. A Mozart today is equivalent to a million Mozarts in the eighteenth century. He would not have dreamed that his music would be broadcast on Vietnamese social media 24 hours a day. Tens of millions of pianos in China play classical works every day. In the words of Jalal al-Din: “The apothecary crossed the seven cities of love… and we are still at the bend of this alley.” Serious music must be taken seriously. Whoever imagines that classical music has passed its time, then his funny and weeping words should point us to an era in which symphonic music achieved a wider spread than it does today.

Necessity: Comprehensive Result: Development cannot be comprehensive if it does not include a serious, knowledgeable, and knowledgeable musical renaissance.

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