Careful listening of the piece validates Papoulis's (2015b) claim that the song "explores the world of Arabic rhythm, textures,
and style" (p. 14). Analysis of the song's refrain (using the text found at 0:59) seems to be written using maqsum rhythmic mode, characterized by its strong beats on the words "sih'r" and "qa" of "i-qa-a," and weak beats on "kha-laq," and the "i" and "a" of "i-qa-a." This beat pattern matches the skeletal pattern of the maqsum rhythmic mode as explained by Wade (2013, p. 88).
Sih'r Khalaq is an excellent example of newly-composed world music. Campbell (2004) asserts that such music can and should be created as long as the music is "treated respectfully, with ample time given to its study" (p. 193). In the case of Sih'r Khalaq, Papoulis (2015a) admits that he consulted experts in Arab music in order to bring the piece to life.
Campbell (2004) also suggests that certain types of music inspire an individual to "respond outside the realm of the purely musical" (p. 210). Such is the case of the performance by Ithaca College. Clearly moved by the driving rhythm of Sih'r Khalaq, they created enticing choreography to enhance the musical work.
In the end, Sih'r Khalaq is the culmination of composer Jim Papoulis's interactions with Arab music. Newly composed musical works are excellent examples of what careful listening and the "intellectual internalization of sonic structures" can create (Campbell, 2004, p. 191), and pieces composed in this way showcase a degree knowledge and understanding of world music. While Sih'r Khalaq is not a true example of a classroom-based activity for creating new world music, it serves as an example of what a final project might become.
References
Campbell, P. S. (2004). Teaching music globally: Experiencing music, expressing culture. New York, NY: Oxford University Press.
Papoulis, J. (2015a). Sih'r khalaq [Program notes]. Distinguished Concerts International New York presents future vibrations. Retrieved from https://www.dciny.org/wp-content/plugins/sf_sync/cache/00P5000000TupD7.pdf
Papoulis, J. (2015b). Sih'r khalaq [Program notes]. Ithaca College choral collage. Retrieved from http://digitalcommons.ithaca.edu/music_programs/1240
Wade, B. C. (2013). Thinking musically: Experiencing music, expressing culture. New York, NY: Oxford University Press.
Hi Alex. Great find for this week's subject matter. You have well researched this piece and how it correlates to this week's chapter on creating world music. Campbell (2004) says that new music should be "treated respectfully, with ample time given to its study" (p. 193), and the choreography that was added by the Ithaca College Women's Chorale does just that. Thanks for sharing.
ReplyDeleteReferences:
Campbell, P. S. (2004). Teaching music globally: Experiencing music, expressing culture. New York, NY: Oxford University Press.
Alex, What a cool piece! I really appreciate the movement that is added in to the performance. Not only does this respectfully accompany the culture, it exemplifies the different rhythms that are being showcased in this performance. I think that if this was a classroom activity instead of a performance, the group could experiment with the form of the song - use the rhythm patterns given and organize them in a different way. Not only would this inspire full understanding of the concepts, but it would allow the performers to create a different version of the piece while demonstrating this understanding. Of course it could still be performed as it was notated. Thank you for sharing!
ReplyDeleteHi Nori! Your suggestion about rearranging the form of the song would be a great classroom activity. When I've programmed it in the past, I've tried to analyze its form but got lost when searching for some sort of pattern. Perhaps there is a larger Arabic form in place that I am not aware of, but in the sense of adapting it for a classroom as opposed to performance based activity, experimenting with form would be an easy adaptation, since music is really divided into units that repeat themselves almost in carbon copy.
DeleteHi Alex, I really enjoyed this piece! This is something I think I could do with one of my women's ensembles. You really did your research, and so did Papoulis. I have done some of his music, and he composes with validity. I have a few of his other pieces in my library. One thing I notice about his compositions, is that they always have a lower tessatura. I agree that this composition isn't an exact replica of the original cultures music, but it does represent it well. Abril says, "If the goal for selecting the music is to validly represent a particular cultural group, the musical experience should be typical or characteristic of "authentic" (Abril, 2006). The rhythmic patterns you spoke of do give this music authenticity. The timbre of the women's voices are bright, which also match the authentic style of singing. The snare drum and piano are foreign to this genre of music, but that is Papoulis' personal touch. I liked the piano, but I think I would have a more authentic drum than the snare drum. The rhythmic patterns of Arabic music is important, and would have liked to hear more of a difference in the lows and highs of the drum. What does the score call for? I also liked the dance that accompanied the performance. Where there notes in the score for the movements? I thought the movements looked authentic, and added a great element to the performance.
ReplyDeleteReference:
Abril, C.R. (2006). Music That Represents Culture: Selecting Music with Integrity. Music Educators Journal, 93(1), 38-45.
Hey Michael,
DeleteYes, there is a lot of typical Jim Papoulis flare for this piece. I'm fortunate to call Jim a colleague and friend, as is Janet Galván who is the director in this video. To my knowledge, the score only calls for a drum, probably a djembe, which is more a Papoulis go-to than authentic to the culture itself. I know that the score does not call for movements, but Janet and Jim are very close friends, and I imagine, though I cannot say for certain, that he was consulted in the process of developing the choreography!
I agree with your assessment. Paupoulis did an amazing job taking a traditional piece and recreating it in a choral setting. In my field work they artists focused on making sure the students performing didn't "westernize" the pronunciation and vocal sounds. This group is making an authentic Arabic sound in their pronunciations and vocalizations. The sound is not traditional open choral sound we hear so often when choirs sing multi-cultural music. I also enjoyed that he added the traditional instrumentation as well. I am not familiar with Arabic dancing. Did it mention in the music notes if the movements were taken from a traditional Arabic dance as well, or did he create stylistic movements to match the sounds and rhythms? Thank you for sharing, I am a huge fan of the compose. We sing at least one piece by him each year at our back to school choral reading sessions. He is one of the artists who remain true to the world music sounds that are being written in traditional notation.
ReplyDeleteHi Staci!
DeleteTo answer your question, no, there are no suggestions for choreography in the score. I know that the director of the performing ensemble, Janet Galván, is a close friend of Jim's, and I imagine, though I cannot say for certain, that he was consulted in creating the movement.
WHY ARE YOU TEACHING ARABIC SONGS FROM AFGHANISTAN IN AMERICA TO OUR STUDENTS? DO YOU EVEN KNOW WHAT IT MEANS???! ISLAM IS THE DEVIL'S RELIGION OF TERRORISM AND HATE AGAINST ALL WHO ARE NOT MUSLIMS AND THE KORAN TELLS THEM TO KILL ALL NON-MUSLIMS
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