Dialogue with a Tradition from an outside perspective. Questions, struggles, strategies - mapping out my path through Arabic Maqam and Taqsim. by Dominika Maria Alkhodari

Playing the oud as a European musician, learning to play taqsim and understanding maqam, is a challenge I face daily. In this research I have set out to find sustainable strategies of how to learn and approach Arabic maqam and taqsim playing coming from an outside perspective. I have used one maqam as a model to experiment with different approaches, compare existing theories and analyse musical material to extract knowledge and find best methods for my future journey. Creating a map of related theoretical concepts has been part of my process, which helped position myself and gaining better understanding. The unseperability of composition and ‚improvisation‘ as expressions of maqam became apparent as well as the central role, that aural learning plays in Arabic music. The need of creating a meaningful connection, which enables constant dialogue and deepening of knowledge, became clear. Learning maqam and taqsim means also ‚living with the music‘ and can not be reduced to a moment in time.

PURPOSE

- to lay ground work for my next years to come to find my personal way in engaging with the Tradition

My primar interest was a better understanding of Maqam and what they consist of, how they are build... I knew enough about the basis of Maqam, the tonematerial, related Ajnas. But I knew very little about 'Modulations', even though the compositions I was playing follow those structures. I was interested to better understand what the 'pivot' points for different Modulations are, and get a better sense of a common pathway of a Maqam. With time my interest shifted and included the art of Taqsim, I am not fully aware when during the process this happened.

Taqsim for me seems very central to the world and concept of Maqam... it shows a momentary representation of a Maqam, in a given moment. A Taqsim seems like a description of a Maqam.

As a classically trained musician - imrpovisation does not come naturally to me... I think I have always felt, that an mportant part of being a musician, speaking the language, was not accessible to me... there is a lack of Liberty.. .

(Conny's work! Limitations bare Liberty, Creativity...)

For me it seems more important as a musician to go through the process, of engaging with the music, than having direct results to be presented in a concert.

What is my reason to play Taqsim?

BACK

NOTATION vs. ORAL TRADITION

- note about why i decided not to include written music

- why the notation system is less than ideal to descirbe the actual music, especially Taqsim

- how can notation be used, what for

- suggestions for development, integration of notation

QUESTIONS

- What is BAYATI?

- What is MAQAM?

- What does Taqsim mean?
- What is Taqsim?

- I play Oud. Why should I learn about Maqam?

- Should I learn to play Taqsim? What could be reasons to?

- HOW did you learn it?

- How can one approach the tradition? What is the way?

Obstacles:
- What are your struggles in regards to learning this art? (Taqsim)
- (and) Arabic Music in General?

I do not state nor guarantee that all that I describe here is true or as others see it. It is only my own personal approach to try and grasp and interact and present what I find and recognize.

I might be on the right track in some parts, but completely off on others. This is part of the journey too, to learn to subtilise (!?) my 'beobachtungen' ... correcting views (finding more layers and truths.)

Ahmad Al Khatib: "Don't believe anyone, ask the repertoire. Don't believe me either."

The truth is, I am not interested in the music purely. I am interested in what the music conveys and why. Musically I am interested in the question HOW it does so.

Since I got in touch with it, it moved me in places... that ... I want to know more about it, understand why it has this dimension to my life. '

I do not want to simply be able to play in a specific way, I want to have a meaningful connection and relation with it.

Ever since I studied Medieval Music in Switzerland, while my collegues were engaging with polyphony mostly, I was mesemrized by the sound of Monody, if well executed. I also contemplated about how a singer, was able to catch the attention of the listeners, with one single, repeated melody and a lengthy text.

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