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.

MOTIVATION & PURPOSE:

sense of frustration / feeling stuck / leaving out a big something
a sense of responsibility because of the representative, cultural aspect of the oud
expand my musical possibilities / new territory ?
need to understand the elements, that ‚move me‘ and potentially being able to implement those in my expression. WHY?

personal joy, satisfaction
my struggles might not be unique - community, context ?
- exemplaric point of reference, potential use to others (students&paedagogues)
being able to deliver, live up to a reality i face as a musician

gaining an understanding by asking those questions …
connecting theory with experience …

QUESTIONS

Can I learn the language of Maqam/Taqsim as a non native?
HOW? WHY?

- How can I learn and understand by myself without a traditional teacher?
What is Maqam and Taqsim?
Why should I learn it? Considering I do play the Oud?
How do others do it?
can i ‚fake‘ native conditions to a degree? :)
What can it give me? How can it influence, contribute and enrich my own creative musical expression? (Dosage + Emphasis)

I don’t think I will be ‚successfull‘ or ‚effective‘ any time soon, but at least I can lay a fundament for myself.

Today I study and play the Oud in different contexts, while I also compose music, that is influenced by the different styles I met along my musical journey.

Born in Poland → migrated to Germany → studied in Switzerland → lived in Italy → worked in Jordan → now resident in Sweden

First instrument: Classical Violin → bound to musical notation.

Later then I studied historical performance practice with focus on Medieval and Rennaissance music.
In that time for three years among other I studied:

• North Indian classical music

• musical notation early western

• Gregorian chant - practical classes

• modal improvisation - in early monody

ABOUT ME

QUESTIONS

Can/Should I learn the language of Maqam/Taqsim as a non native?
HOW? WHY?
- How can I learn and understand by myself without a 'traditional' teacher?
- What is Maqam and Taqsim?

- Why should I learn it? Considering I do play the Oud?
- How do others do it?
- can i ‚fake‘ native conditions to a degree? :)
What can it give me? How can it influence, contribute and enrich my own creative musical expression? (Dosage + Emphasis)

I don’t think I will be ‚successfull‘ or ‚effective‘ any time soon, but at least I can lay a fundament for myself.

ENTER

METHODOLOGY

• searching existing approaches,

try and compare, apply, decide

• dialogue/interviews
asking peers and teachers

• engaging with the repertoire
- one maqam as a model for experience

• search, listen, chose, analyse,

play/copy

• read literature and theory

(different theory models)

• developing own exercizes
and 'games'

• composition

• reflection & observations

METHODOLOGY

- searching for existing methods/ways, compare&try, apply, decide

- dialogue/interviews, asking peers&teachers&(participants)

- engaging with the repertoire :one maqam as a model for experience

search, listen, chose, analyse, play/copy, (adapt)

- read, literature / context+theory (different theory models)

- trying/developing exercizes, 'games' (composition <==> improvisation)

- composition

- personal reflection & observations

Later I have beend performing different music from the mediterranian area.

Tip

Tip