User:Hugh Beresford1997/Music of Syria/Skylercafferata Peer Review

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Hugh Bresford1997


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 * User:Hugh Beresford1997/Music of Syria


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 * Music of Syria

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(Compose a detailed peer review here, considering each of the key aspects listed above if it is relevant. Consider the guiding questions, and check out the examples of what feedback looks like.

Overall I thought this was good, lots of good sources and in-text citations (I don't know why they didn't show up when I copy and pasted this but it looked like you cited almost everything). There is some repetitiveness and redundancy going on as well as awkwardness. I would give this a really attentive proof read and see what you can do to enhance the clarity and flow.

When speaking of the music of Syria there are certain musical traditions and practices that have been present longer then (than) others. There has (have) been musical influences introduced into Syria through multiple eras of conquest and surrounding cultures in modern-day Syria (as opposed to Greater Syria). Lying near the Egypt, Jerusalem and connected to southern Europe by the Mediterranean, Syria became host to many cultural music (should this be "culture's musics"?) through trade and route.

Sound of Syrian Music[edit]
Syria borders the Mediterranean sea and is located in the Levant. This area has been culturally influenced by many conquests and geopolitical activity. The multiple influences and sweeping conquests have created many of the cultures to share particular practices or traditions. Music of the Middle East has a predominantly monophonic nature. This is more clearly understood as the music not generally having multiple melodies or harmonies playing, however, there can be a rich texture created if multiple instruments ARE playing the same melody with slight variations or rhythmic ornamentations. One particular example of this is from ethnomusicologist Bruno Nettl who suggests that a more common style of music texture is parallel polyphony (linked to wiki article) which consists of a singer improvising a melody and an instrument following behind with the previous melody. Many of the tones are played in a certain interpretation of the player who can bend the notes causing an improvisational effect on the structure that is applied as a personal interpretation of the players feelings towards the song. (this sentence feels awkward and maybe can be reworded for clarity) This causes an effect that connects the performer with the audience which can create a feeling of ecstasy in the listener. Compared to western music, this may be similar to a solo produced by a player during a song or a rendition of a song that keeps the same form but is changed slightly creating an effect that is predictable enough to the listener while revealing new variations of the song creating a feeling of excitement for how the musician will play the upcoming sections.

Music and Poetry[edit]
Landscape of Syrian mountain. A significant part of Syrian music is sung in prose that gives it a distinct Middle Eastern sound. There is an intersection of elements in Syrian music that give it a particular sound and that have caused the music tradition that is Syrian music today (the end of this sentence feels awkward even though I can still understand what you mean). These elements are first, the music being played predominantly as a monophonic texture; the music is near-inseparable to poetry; although the music follows particular maqam'at (what is this? link or explain the term), there is melodic improvisation that is to be expected; last, the music is highly ornamented with quartertone's and microtones that provide the player with the necessary tones to accurately account for  for  every possible emotion that may be drawn from the music. Throughout time, history, and cultural amalgamation, the Syrian musical style has been constructed as a platform to create the perfect sonic environment for the listener to fully emerge in the stories told in the poetry. The stories told in the poetry are enhanced by the music in ways that would provide the listener with the greatest understanding of the story.

A particularly influential group in Syrian music and specifically values, ideologies, folklore, and the poetic customs of the Levant are the Bedouin tribes.

Bedouin Influence on Syrian Music[edit]
Bedouin and his tent Important historical context that had a great influence on the folk music of Syria and the countries of the Levant, is Bedouin culture. Bedouin is a name given to the nomadic tribes that lived in the Levant. Bedouin culture has played a large role in shaping the music present in the countries of the Levant. (These first 3 sentences are a bit repetitive, try to condense) The Bedouin influence can be seen in the ideologies, customs, and musical genres. One such impact of Bedouin culture is in the music genres of rural Syria and Lebanon. Within these encounters, there was sure to be some exchange in culture throughout the many years of these practices. Ideologies that were adopted from the Bedouin culture were hospitality, chivalry, bravery, and militancy. These types of ideologies were sung in a song form or genre called shruqi. Ideologies like love, heartache, and sentiment, were sung in a genre called ataba. Nadb is funeral music that honours the departed and war chants are sung when applicable. The reason the Bedouin culture had such an impact was that they would travel from place to place either pillaging or trading with the settled communities. This ended during the French colonialists era following the treaty of Versailles. (putting shruqi, ataba, and nadb in bullet points would make this easier to read).

Historic Bedouin cultural music, if sung, was always  sung (redundant) accompanied with the rababah. Bedouin music is near-inseparable from poetry as is much of the music traditions in the Middle East. Many of the songs are kept in an oral tradition due to the nomadic nature of the Bedouin tribes, however, some songs and stories were written down by al-Atrash (who is this?) who transcribed his work while imprisoned by the Ottoman Empire. al-Atrash wrote his work in the Shruqi genre which is used to tell of heroine tales of rebellion to an enemy or captive poets who have been humiliated by the enemy. This written work had a great effect on southern Syrians bringing Shruqi and other Bedouin ideologies and practices to urban areas. Due to the geopolitical climate of the Middle East, urbanization has caused many of the nomadic cultures and rural regions to cluster or move altogether. This has brought more modernized musical instruments and oral poetry together which collaborate and are currently played throughout regions of the Middle East.

Instruments[edit]
Folk music of Syria is for the most part based on the oud, which is a stringed instrument considered to be the ancestor of the European lute, as well as the ney flute and hand-held percussion instruments, such as the darbouka, daf or riq. Other typical instruments are the qanun and kamanjah. In semi-Nomadic regions, Bedouin music which is based on the Mizmar, mijwiz and rababah is popular. (I would put this section into point form)

Syrian Classical Music[edit]
A typical Syrian classical genre is the Muwashshah that goes back to Medieval times (dates?). Performed by a lead singer or a choir, it consists of a classical form of Arabic poetry set to music. It usually consists of a multi-lined strophic (link to wiki?) verse poem written in classical Arabic, mostly consisting of five stanzas, which alternates with a refrain with a running rhyme. The muwashshah is usually opened with one or two lines matching the second part of the poem in rhyme and meter.

The city of Aleppo in Northern Syria is considered to be the centre of muwashshah. A group of Syrian musicians from Aleppo

Maqam[edit]
The classical music notation style of Syria is shared throughout the Arab world. This is known as maqam music which has first studies dating back to the 9nth century. Maqams were first theorized by al-Kindi between 801-873 and al-Farabi 870-950 where the music was standardized. In the Arab world, as well as Turkey and Iran, there are a multitude of religions and cultures that have been present for centuries. Although there has been influence from empire and colonial forces, countries like Syria and Lebanon belong to the maqam tradition. Music in the Middle East differs to Eurocentric music in that it is usually played monophonically (link to monophony?), that is, as a single melody. Because of this monophonic style, most songs are sung or played with the expectation the the melodic line will have improvisation or musical ornamentation. (might wanna fix this sentence) Arabic music has small scales called jins/ajnas which are small melodic motifs that have three or four pitches to them. A maqam These (???) tri,three-note, tetra, and four-note, scales are combined with usually two, sometimes three, jins/ajans to create the maqam. To understand the notation in maqamat (plural of maqam) musical style, it is easiest to compare to the western notational style. The western notation is divided into twelve separate intervals creating a musical octave. The notation used in maqamat systems is divided into twenty-four intervals creating a distinction of the whole-tone, halftone and quarter-tone. Further into this division is the use of microtones which divide the quarter-tone making an even more subtle tone to express ornamentation. (I'm a bit unclear on maqam - is it the name of a genre or musical notation? or both? If melodic motifs only have 3 or 4 pitches do you know if that includes quarter or micro tones or are those more so utilized as ornamentation while playing a scale?)

Iqa'at[edit]
Iqa'at, or the singular iqa, is a particular rhythm that is to be played for every bar. These rhythms are just a structure of what is usually played in the live performance. Ethnomusicologist Bruno Nettl describes Iqa'at as separated by order stressed and unstressed. As well, musicians will play a song that drifts from nonmetric to metric (does this mean free time/meter?) and then change in its metre again depending on the song. iqa'at has even and odd time signatures that go anywhere from no rhythm, to 2/4 time to 32/4 time.

Syriac music[edit]
Syria, being one of the countries where Christianity had originated, has a long history of church music. It is the origin of the Christian hymnody,(this links to a classical work from 1963 so I'm guessing that's not correct, probably just link it to "hymn") which was entirely developed in Syria. And its style of chant, the Syrian chant which continues to be the liturgical music of some of the various Syrian Christians, is the oldest in the world. (is there a citation for this claim?)

There was formerly a distinctive tradition of Syrian Jewish religious music, which still flourishes in Syrian-Jewish communities around the world, such as New York City, Mexico City and Buenos Aires: see The Weekly Maqam, Baqashot and Pizmonim.

Much of the Syrian chant and other gernes (genres) of Syrian music has been spread widely across the world due to the continual and recent diaspora of Syrians.

Music of Refugees[edit]
In contemporary times, Syria has become a country of conflict. From this conflict has come a great diaspora of refugees leaving to find safety. Many have sought refuge in distant countries from their own, however, a number close to 622,000 Syrians are found in Jordan alone. The majority of the refugees travel to Jordan from Aleppo, Homs, and Dara'a. These are areas that have been greatly influenced by both Arabic classical music and Bedouin folk music. This is due to the amalgamation of culture that happened from the French mandate rule and its effects on Bedouin nomadic tribes, and from the recent conflicts causing rural regions to enter the cities for geopolitical purposes. Similarities rise in the Syrian refugees and that of the older Bedouin tribes. Through the displacement of their homes, Syrians have been on the move finding new places to seek asylum.

As the diaspora has increased in recent times due to increasing conflict, neighboring countries have taken in many refugees and provided temporary housing in refugee camps. In the Zaatari refugee camp there are 79,000 people alone. From the displacement of their homes Syrians have turned to music for the purpose of morning (mourning) and comfort ing their losses. Also, reporting on the events was made illegal with punishment of jail time making Syrian song the only platform of which to tell any source of information. Syrians have also kept their traditions and culture alive through the ancient practice of music playing. This use of culture has now resembled that of the traditional Bedouin cultural practices as the Syrians turn to the traditional ataba music  in their music . There are many similarities between the Syrian refugee lifestyle and that of the traditional Bedouin culture. The environment being the Syrians home now in Levant desort housed in campers and the Bedouin in their tents the nomadic nature of the two demographics along with the oral nature of the music they both sing. (can't understand this sentence, needs rewritting/fixing) However, the most direct similarity is between the types of music that the Syrian refugees play and a traditional Bedouin genre. In the YouTube video embedder in Alex Petropoulos's article in the Guardian, there are two men who sing in a traditional Bedouin genre known as ataba. Ataba music is reserved for the sentimental feelings usually associated with lamentations over loss. The YouTube video plays in this style of music varying only in the musicians use of the oud and not the Bedouin traditional rababah. This subtle difference can be explained by the modern diaspora of culture and the amalgamation of culture in the urban centers of the Middle East.

Modern Amalgamation and Diaspora[edit]
Due to the rise in geopolitical conflict in the Middle East, there has been an amalgamation of cultures in the urban centres of the Levant. This has created a mixture of cultures that have borrowed styles and sounds from one another with a mixture of classical music and instruments, Bedouin genres and poetical traditions, and the more subtle yet distinct differences that each community and region has in the Levant. This amalgamation has no doubt been going on for many centuries due to the historical conflicts that have happened throughout Middle Eastern history. This no doubt has made Syrian traditions change in style while also becoming necessary to practice for the survival of culture and traditions as was/ is the case for Syriac chant. There is now Syrian music played throughout the world due to the historical diaspora and movement by the Syrian people.

As in other countries, modern Syrian music notably contrasts its folk music. It uses an orchestra of mostly European instruments with one lead vocalist and sometimes a backup chorus. This type of music is very popular in the Middle East. Famous singers are Assala Nasri, Farid al-Atrash, Fahd Ballan, Sabah Fakhri, Mayada El Hennawy and George Wassouf.

(this section might be redundant. previous sections mention these ideas already. this feels like a "summary" or conclusion paragraph which isn't something wikipedia wants. )

Syrian Dances[edit]
One of the most popular dances in Syria is the Dabkeh, a folk dance combining circle dancing and line dancing formed from right to left and headed by a leader which alternates between facing the audience and other dancers. It is mostly performed at weddings and other joyous occasions. Other popular folklore dances include the "Arāḍa" (Arabic: عراضة‎), a dance performed with swords, as well as oriental dance for women.