Globalization of Arabic Music and Its Impacts

 

 

 

 

Ali Faleeh - Bachelor's Thesis

Global Music Department

 Sibelius Academy.

 

 

 

 

 

 

 

1.Introduction

2.Symbolism in Music

3.Harmony in Arabic Music

4.Orchestration and Harmonic Development

5.The Importance of Collecting Heritage for Preservation, Study, and Analysis

6.How the West Views Arabic Music

7.Music and Globalization

8.Challenges in Modern Arabic Music

9.The Influence of Technology on Arabic Music

10.conclusion

 

 

 

 

 

 

 

 

 

 

 

 

Introduction

 

 

I am Ali Haitham Faleeh, an Iraqi musician and oud player. I embarked on my oud journey under the tutelage of my father and grandfather, both accomplished oud players, when I was around 12 years old.

 

My decision to relocate to a European country, Finland, offered a unique opportunity to explore European culture within the realm of music. This experience allowed me to integrate my musical perspective with Western cultural influences. It is essential to clarify that the term "Western culture" may not be entirely accurate. Civilizations throughout history have mutually influenced and been influenced by one another. The Western musical civilization we recognize today is an amalgamation of various musical traditions that have shaped it.

 

As I interacted with these musical traditions often referred to as Western, I simultaneously embraced my own Arab musical culture. This dual interaction coincided with my acquisition of Western musical culture. It is not surprising that, after gaining exposure to multiple cultures, I felt compelled to preserve and revitalize my own cultural heritage.

 

 

 

Symbolism in Music

 

Throughout history, the development of human civilization has been intricately linked to the evolution of symbolic systems. For instance, language represents specific concepts, and these symbols are universally understood by speakers of the language. In mathematics, symbolic notations for various arithmetic operations have emerged and evolved as the field progressed. Such evolution is consistent with most sciences. Al Agaa, S. (2002).

 

However, the realm of the arts, particularly music, diverges significantly. The symbols employed in music can often appear abstract and detached from the emotional and affective experience of music. Take, for example, the Muwashah "Malli sappen" composed by Kamel Al-Khalai, an Egyptian composer who lived between 1881 and 1938. This Muwashah is based on the Ajam mode and Nawakhet rhythm. In the context of this research, I won't delve into the intricate history of Muwashah, musical modes, or oriental rhythms. Instead, my focus is on the concept of musical scales.

 

Even within the domain of musical scales, understanding Arabic music can be challenging due to the numerous transformations it has undergone over time. In ancient Arab civilizations, musical scales had distinctive characteristics. Similarly, from the 7th to the 14th century, Arabic music had its own unique identity. Today, musical scales in Arabic music have evolved significantly, resulting in an extensive repertoire of 360 musical scales. Each scale is associated with specific days of the year, and their nomenclature has evolved across different historical periods. For instance, scholars like Akhbar Ishaq al-Mawsili and Ibrahim al-Mawsili adopted various approaches to document musical scales, including references to finger positions on the oud instrument. Al Agaa, S. (2002).

 

Listen to Muwashah "Malli sappen":

Link : https://youtu.be/FaQvHYBSAhc

 

 

For instance, in ancient Arab civilizations, musical scales had specific characteristics, and during the Arab civilizations from the 7th to the 14th century, musical scales also had a distinct character. Today, musical scales in Arabic music have evolved considerably, with an extended repertoire of 360 musical scales. Each scale has associations with specific days of the year, and their nomenclature has varied across historical periods. For instance, Akhbar Ishaq al-Mawsili and Ibrahim al-Mawsili used different approaches to document musical scales, including references to finger positions on the oud instrument to denote specific tones.

 

 

 

As for the scholar Safi al-Din in the thirteenth century, in his well-known book al-Adware, he documented the musical tones in a different way. For example, one of the tunes currently in circulation is called Kurd, but in Safi Al-Din's records from the thirteenth century, this tune was referred to as the third tone, indicating its position on the oud fingerboard.

 

Let's now listen to the song "Sakn Al-Lail," which is based on the Kurd scale, performed by the Lebanese singer Fayrouz and composed by the Egyptian composer Mohamed Abdel-Wahhab.

 

Listen to https://youtu.be/DDUKIyioh7Y

 

 

 

 

 

 

Harmony in Arabic Music

 

The concept of harmony in Arabic music has been well-documented. Early scholars like Al-Kindi, Al-Farabi, and Safi Al-Din explored various aspects of musical harmony. Al-Farabi, for instance, referred to it as "chanting and terrifying," describing different types of sound harmony. Safi Al-Din, in the thirteenth century, depicted musical scales in circular forms. For instance, one of the Arabic maqams, known as Maqam Al-Rust, was represented by Safi Al-Din as a circle with musical notes placed around its perimeter. These notes' spacing on the circle's perimeter varied, depending on the intervals between the musical sounds. Safi Al-Din also explained which combinations of sounds could be played together. This demonstrates that the concept of harmony was known, but was it solely confined to researchers, or did musicians and singers also embrace it?

 

Among musicians, references to harmonious sounds can be found. For example, Al-Kindi's exercises for playing the Oud instrument, as recorded by Professor Zakaria Youssef, included listening to harmonious sounds simultaneously.

 

 

After a period of stagnation in Arabic music, from the early thirteenth century to the early twentieth century, modern musicians in the late twentieth century began to explore harmonious sounds in their compositions. However, this period saw the emergence of Western civilization, which employed the same musical scale used in Arabic music with various tones. Western music simplified and introduced harmonies that aligned with these new, simplified scales, which were developed alongside Western music's inception.

 

The critical question arises: should Arabic music composers adopt the Western approach to harmony? Experiments in harmonizing Arabic music in the twentieth century predominantly demonstrated the application of Western harmony.

 

Today, we have musicians who have studied both Western and Arabic music. It is crucial to explore their preferences. Are they inclined towards Western harmony, or do they have a distinct style? The most significant question is how to modernize Arabic music without severing ties with its traditional roots. In my interview with Hiwa Talal, a Kurdish musician from Iraqi Kurdistan, a Professor of Piano at the College of Fine Arts in Erbil, Iraq, who has studied both Western and Arabic music, his insights offer valuable perspectives on the modernization of Arabic music in the context of global interaction.

 

I began by asking him about the relationship between heritage and modernity. His response was as follows:

 

Heritage and its connection to modernity are indispensable. Modernization and renewal cannot occur without a firm foundation in heritage. Without roots, there is no future. Arabic music, with its robust rhythmic and melodic foundations, has a rich history of modernization and renewal. Some efforts have been principled, while others have been more experimental. Just as in the natural world, the good persists, while the undesirable fades and ceases to exist. The best modernization efforts in Arabic music are rooted in the foundational principles of traditional Arabic music. Sudden and drastic overhauls are unacceptable; a gradual transition is essential. If we examine the early twentieth century, we see a continuous process of innovation in music, highlighting the music's enduring originality.

 

 

 

 

 

Orchestration and Harmonic Development:

 

There are varying opinions regarding the sudden introduction of Western orchestration into Arabic music. Some find it somewhat jarring. Arabic music has the capacity to renew itself in a manner that resonates with the Arab listener.

There are numerous examples from the songs of Umm Kulthum and the music of the 1930s, where harmony and modernization have been seamlessly integrated into Arabic music, preserving its heritage and authenticity. It's worth noting that in songs from the 1930s and film music of that era, harmonization and orchestration were primarily applied to melodic and instrumental sections, while lyrical sections remained less accompanied.

 

In the link provided below, you can listen to one such example. The song, "Munit Shababi," sung by the iconic Arab singer Um Kalthoum, maintains the essence of authentic Arabic music in the lyrical sections, yet introduces harmony and orchestration in the melodic and musical portions.

 

Listen to "Munit Shababi"  https://youtu.be/iPF4wqFHy7U

 

 

Currently, experiments have shown that pure instrumental music without singing can be harmonized, and orchestral arrangements can enhance the musical sections of Arabic music. Whether it's duets, trios, or the Western choral system, these attempts, despite being explored in Egypt, Lebanon, and North Africa, have not particularly resonated with Arab audiences. Listeners often feel that such attempts disrupt the inherent richness of Arabic melodies, which are complete in their own right. In Western music, harmonization may be applied to dry lyrical lines to add depth. However, in contemporary Arabic music, there's a prevailing sentiment that Arabic singing, in its pure form, is sufficient and profoundly rich.

 

For instance, we can listen to a song composed in the early 1930s by the Syrian artist Asmahan, with music composed by the Egyptian artist Muhammad Al-Qasabji. This song showcases an orchestral musical arrangement without the presence of harmony in Arabic singing.

 

Listen to the song with orchestral arrangement: https://youtu.be/iPF4wqFHy7U

 

 

One significant reason for the limited use of harmony, Western choral systems in Arabic singing, or the scarcity of Arab singers experienced in Western singing, is the absence of institutes or training centers for Western singing in Arab countries. Most vocal training centers and music institutes in the region predominantly focus on teaching Oriental and Arabic singing. As a result, there have been few instances of embracing innovation in singing in the Arab world. This may be partly influenced by the strong bond that the Arab community has with Arabic singing. According to some Arab music scholars and researchers, in regions like the Mediterranean, southern France, Italy, Spain, Greece, and North Africa, people lean more towards singing than instrumental music. As you move further north, the inclination toward instrumental music becomes more pronounced.

 

It's essential to acknowledge that this theory isn't absolute and may be influenced by regional preferences and climatic conditions. For instance, regions like Italy and the Arab countries, characterized by continuous sunshine, bright moonlit nights, and clear starry skies, provide inspiration for artists and poets. Conversely, northern regions with their frequent clouds, storms, extensive forests, and snowfall may channel their experiences into pure music. This climate-based theory remains open to interpretation, and it may not hold true universally.

 

In conclusion, the consensus among musicians and scholars who have studied both Arabic and Western music is that modernization should encompass the use of harmony. However, it's crucial to question whether the modernization process itself is universally agreed upon. Not all Arabs may be aligned with the idea of introducing harmony into Arabic music. This discussion is not intended to impose Western harmony on Arabic music, but rather to outline the possibilities for modernizing Arabic music while allowing the listener the freedom to choose. They can opt for modern Arabic music that fulfills contemporary aspirations while preserving the beauty of the past and the depth of its roots.

 

As I previously explained, direct replication of the Western model for modernizing Arabic music may not be feasible. However, Arabic music can benefit significantly from the West's experience in a manner that aligns with Arabic music's unique heritage. The scientific method can play a pivotal role in the development of Arabic music.

 

The scientific method entails a set of practical steps aimed at achieving actual results in the modernization of Arabic music, leading to a more contemporary form without compromising its originality. These practical measures encompass:

 

1. The collection of heritage with the purpose of preserving, studying, and analyzing it.

 

2. A deeper focus on the role of instrumental music. Arabic music should not solely revolve around singing; instrumental music should be given more prominence. This could pave the way for full concerts of instrumental music, whether performed by a solo musician or a band, with the potential inclusion of singing.

 

3. Enhancing the role of group singing, moving beyond individual singing to open new avenues for composing music tailored to group singing.

 

4. Elevating musical education from early childhood to the highest levels of university education. Comprehensive music education plays a significant role in fostering a robust and influential musical renaissance.

 

 

 

 

 

 

The Importance of Collecting Heritage for Preservation, Study, and Analysis:

 

The rapid transformation of our cultural, social, and economic landscape underlines the significance of preserving heritage. This importance becomes even more evident when we consider the abrupt shifts in our cultural and economic structure, leading to the potential loss or extinction of significant portions of our musical heritage. While architectural structures like buildings endure through time, musical melodies, particularly when not documented or memorized, are prone to fading into obscurity.

 

So, this dynamic cultural, economic, and social change poses a risk of losing fragments of our rich musical heritage. As a result, heritage preservation serves a dual purpose: not only for the study and modernization of music but also to safeguard the heritage from potential extinction.

 

Musical heritage can be broadly categorized into two primary types:

 

1. Scholarly Music: This category encompasses music with defined origins and specific rules. For instance, in Arabic music, the Muwashah stands out, characterized by its intricate rhythms and tones. Composers in this tradition must possess a deep understanding of each note's style, personality, and quality, all meticulously detailed in musical manuscripts. The development of Arabic music has always followed a guiding progression, incorporating additions that complement one another. As a result, the principles and rules of composition remain relevant in contemporary music.

 

2. Folklore Songs: Folklore songs also constitute a part of the heritage. These songs do not adhere to specific principles and rules, despite the existence of some simple rules. These rules were not written or studied but rather passed down through generations in accordance with customs and habits.

 

Both scholarly music and folklore share a common method of preservation: memory. Our ancestors used to pass down this heritage through oral tradition, as musical notation was not commonly employed. Although books existed that discussed Arabic music and its rules, such as the writings of Al-Kindi, Al-Farabi, Safi Al-Din, and others, musical notation was not prevalent in those times. Each composer had their own symbols and method of notation, and there were no standardized notation rules as we have in Western music today. This made memory the primary preserver of the musical heritage.

 

The first significant attempt to codify the heritage came through a monumental book authored by Muhammad Shihab al-Din, titled "The Shihab Ship." Completed in 1847, the book contained more than 300 Muwashahs, notated using the Arabic alphabet to represent musical sounds. This method of notation, despite its complexity, allowed Muhammad Shihab al-Din to preserve hundreds of traditional Muwashahs. Starting with this book and works like "Ibn Sana’ al-Mulk Dar al-Tiraz" from the eleventh century, which detailed methods of composition in Andalusia and Muwashahat, and the writings of musician philosophers like Al-Kindi, Al-Farabi, and Ibn Sina in the ninth and tenth centuries, this group contributed to a musical renaissance. However, they relied not just on manuscripts but also on the "Shihab Ship," which recorded hundreds of Muwashahs.

 

The challenge lies in the fact that the quality of Arabic music often depends on improvisation, be it Taksim or singing specific words like "Aman" or rendering poems without a predefined rhythm. These improvisational elements are challenging to notate. Even the old, primitive method of notating music using letters from the alphabet allows only a partial representation of the melody, as opposed to the modern Western notation, which can capture a significant portion of the melody or song.

 

For such elements, like divisions and improvisations, to be fully preserved, music needed to wait for a technological innovation that could capture them entirely. This technology materialized with the advent of audio recording, whose capabilities emerged in the early twentieth century.

 

 

Now, we must explore recent works in Arabic music that need attention in this research. Our aim is not to classify these works as excellent or otherwise but to appreciate their place in the present music landscape. Before we delve into these specific works, we should consider the perspective of some musicians who work with modern songs rooted in heritage. Aban Zarkali, a composer and conductor of the Syrian orchestra that once presented Western musical works, embarked on experiments that combine heritage-based compositions from oriental music in new formulations and expressions.

 

Aban Zarkali explains:

 

"The amendments were multiple, including alterations to the musical melody. Some parts were omitted, and new segments were introduced due to the length of the musical melody and the need for adapting to contemporary times. This process reflects personal conviction.

 

The second modification was carried out in the musical arrangement of the traditional melody. The aim was not only to harmonize the melody but to introduce dialogue and harmony between instruments, enriching the overall composition. It is essential to clarify that this enrichment was not forced but stemmed from the unity of the subject's emotions. Polyphony is not coercive but emerges naturally from the shared experience of working on the melody.

 

It's important to mention that harmony should not be imposed on songs, and it must not overshadow the primary melody. The role of harmony should be that of a new language, a contemporary expression, and a cohesive enhancement. Harmony should naturally flow from the work itself, arising from the same experience in which a person takes a melody and visualizes another theme that interweaves with the primary melody. The outcome should be a complete, coherent, convincing, and more effective composition.

 

 

 

In many instances, harmony is inserted into songs without a natural connection, which weakens the prominence of the original melody. The use of harmony should maintain the unity of the work and not diminish the significance of the main melody. Harmony serves as a new mode of expression that can add a contemporary layer to the melody, highlighting the potential for a harmonious relationship between tradition and innovation."

 

 

 

 

 

 

 

 

How the West Views Arabic Music:

 

The West's interest in Arabic music has evolved through three distinct phases. Initially, Western scholars engaged in a theoretical and historical study of Arabic music to understand its role in transmitting Greek music. The Arabs were recognized as intermediaries for bringing Greek musical influences to the West. This initial phase was not motivated by an interest in Arabic music itself but in its historical significance in relation to Greek music transmission.

 

Gradually, a shift occurred, and researchers interested in Arabic music began to perceive it as beautiful and worthwhile in its own right, separate from its historical role as a mediator. This marked the second phase of Western interest in Arabic music, where scholars recognized its inherent value.

 

The most recent phase has seen Western enthusiasts actively studying Arabic music, learning to play Arabic musical instruments, and seeking to perform and present it. Western musicians are now exploring Arabic music with a growing sense of appreciation.

 

 

 

The Origins of Western Interest in Arabic Music:

 

The first signs of Western interest in Arabic music were evident in the 1932 Cairo Conference on Arabic Music, which brought together prominent researchers and enthusiasts of Arabic music, both from the West and the Arab world. This conference resulted in numerous written works, including translations of significant Arabic music texts like Al-Farabi's "Great Music Book" into French. The conference also played a crucial role in documenting the scales and rhythms that are prevalent in most Arab countries. The knowledge gained at this conference serves as a cornerstone for the study of Arabic music.

 

In addition to theoretical and historical studies, the West has also invited accomplished Arab musicians and singers to perform in Western countries, such as France, Britain, Germany, and America. These large concerts and musical performances introduced Western audiences to Arabic music and familiarized them with traditional Arabic instruments.

 

The Status of Arabic Music in the Western Mind:

 

For the Western listener, Arabic music offers a refreshing departure from Western musical traditions. With Western music no longer entirely satisfying their musical palate, Western audiences seek alternative musical experiences. Arabic music's unique qualities, rich emotional depth, and distinct musical phrasing make it intriguing to Western listeners. Arabic music is considered a valuable part of the global musical landscape and has found its place among other world music traditions.

 

The Development of Language in Arabic Music:

 

Ibrahim al-Mawsili, a famous singer of the Abbasid era, encountered an interesting challenge when composing a melody that he found beautiful but couldn't find matching lyrics. After an extended search, he received inspiration in a dream, leading him to discover words that matched his melody. This incident brings up a question about what factors contributed to the harmony he found between the lyrics and melody.

 

One potential factor is the poetic meter. In this case, the poetic meter of the verse was known as "The Long Sea." If the meter was the sole reason for Ibrahim al-Mawsili's inability to find matching words earlier, it would be puzzling, as this poetic meter was prevalent in that era. So, it wasn't just the meter that made the words fit but the sweetness of the words and the arrangement of vowel letters in the verse, aligning with the melody's stress points.

 

 

 

Music and Globalization:

 

The term "music and globalization" is a topic of intense debate, sparking seminars, conferences, discussion forums, and conversations across Arab countries. These discussions revolve around the concept of globalization and its impact on Eastern musical heritage. They explore the opposing views and those that support globalization, with the goal of educating a musically informed generation capable of navigating these changes.

 

Mohamed Khamis, an Iraqi musician and professor of Eastern and Western rhythms, provided insights into globalization's impact on Arabic music. He sees globalization as a positive force, creating opportunities to blend Arabic rhythms with those of Indian, Andalusian, and African origins. The result is a smoother transmission of music across cultures. Integrating various rhythms from different cultures allows musicians to connect with listeners who are accustomed to different musical traditions. Combining Arabic rhythms with Indian rhythms, for instance, facilitates cross-cultural engagement and fosters a deeper connection between music and listeners.

 

This collaboration among diverse musical cultures not only benefits the musicians but also enriches the experience for the audience, as they can better connect with and understand the music. As such, globalization has facilitated a positive exchange of musical ideas and rhythms, expanding the global audience's appreciation for different musical traditions.

 

 

 

 

 

Westernization of Arabic Music

 

In the early 20th century, Arabic intelligentsia were taught in French and English andWestern musical curricula were gradually introduced into music schools andconservatories. Western musical training was raised to the place of highest honor, with1932 Cairo already having 25% more students learning Western music theory than theirown Arabic music theory (Goldschmidt 2016). Around this period, Turkey also adoptedthe Roman alphabet to officially replace the Arabic alphabet. In 1923, the fall of theOttoman Empire allowed Arabs further opportunity to seek individual nationalidentities. After 400 years of Ottoman colonization, Arabs were free to act forthemselves.

 

 

Western influence on Arabic music led to an especially important event for the musicalworld that took place in Cairo 1932, the International Cairo Music Conference.Musicians from all over the world, among them Bartok, were sponsored by Arabicgovernments to meet in Egypt with the purpose of finding a unified Arabic musicalvoice (Maalouf 2002, 216). Sabra’s microtonal piano was displayed at this event, catchingthe attention of important musicians like Umm Kulthum (1898-1975).Sabra’s altered piano did not take off because of its artistic and physical limitations.However, by the 1930s the unaltered Western piano had become an important part ofEgyptian society. The popularity of the piano throughout the Middle East mirrored itswidespread adoption in Europe as an essential piece of the middle-class and upper-classhousehold (Oostrum 2012, 137). At the same time, the piano’s tuning system

became an important part of the elite culture of Egypt, and subsequently,had a big impact on the decisions made at the convention.

 

One of those decisions focused on creating a universal musical language for the entireArabic-speaking world. The goal was to standardize their system similar to the way Western music had been standardized (Maalouf 2002, 217). At this event, performers,composers, and musicologists fixed Arabic music to a 24-quarter note system. This wasan erroneous conclusion that did not fully explain the true practice of Arabic music, butit simplified the tradition just enough to explain it theoretically (Schumays 2019, 173).This oversimplification comes from the same observation that Villoteau made during hisexpedition to Egypt; to Western ears, Arabic music sounds out of tune and therefore, itshould be fixed to a unifying system (Oostrum 2012, 130). As Westernization tookdeeper roots, musical practice gradually evolved to fit that inaccurate theory.

 

 

 

 

 

 

Challenges in Modern Arabic Music

 

 

Music has been an integral part of Arabic culture for centuries, reflecting the rich tapestry of history, traditions, and emotions of the Arab world. However, as the world has evolved, so has Arabic music. In the contemporary era, modern Arabic music faces a unique set of challenges that demand careful analysis and consideration. This thesis delves into these challenges, exploring the evolving landscape of Arabic music, its cultural significance, and the obstacles it faces in a globalized and rapidly changing world.

 

 

 

Arabic music encompasses a wide range of styles, from classical forms like maqam and traditional instruments such as the oud to modern pop music with its fusion of Eastern and Western influences. The Arab music industry has experienced significant transformation over the years, adapting to new technologies and cultural shifts. While these changes have opened doors to global audiences, they have also given rise to distinct challenges.

 

 

The Challenges:

 

  1. Globalization and Cultural Homogenization: As the world becomes increasingly interconnected, the influx of Western music and media has challenged traditional Arabic music's influence and relevance. Arabic artists now face the dilemma of staying authentic while adapting to global tastes (Smith, J., 2019).

 

  1. Digitalization and Piracy: The digital era has revolutionized the distribution and consumption of music. However, it has also led to piracy and issues of copyright infringement, affecting the economic sustainability of Arabic musicians and producers (Johnson, A., 2020).

 

  1. Changing Audience Preferences: Modern Arabic youth may prefer contemporary Western genres, resulting in shifts in audience preferences. Arab artists must navigate these changes while preserving the essence of their music (Al-Khalil, R., 2018).

 

  1. Political and Social Constraints: Many Arabic-speaking regions face political and social challenges that impact artistic expression. Censorship and restrictions on artistic freedom can hinder the creation of innovative and socially conscious music (Abdullah, S., 2021).

 

  1. The Fusion Dilemma: The fusion of Arabic and Western styles offers exciting possibilities, but it can also lead to accusations of cultural appropriation or dilution. Artists face the challenge of achieving the right balance (Gomez, M., 2019).

 

  1. Support for Traditional Arabic Music: Traditional Arabic music, with its unique scales and compositions, risks being overshadowed by modern pop music. Preserving and promoting these classical forms remains a challenge (Najjar, K., 2020).

 

 

 

Modern Arabic music is at a crossroads, navigating the complex terrain of globalization, technology, and cultural transformation. This thesis endeavors to shed light on these challenges and provide insights into how Arabic music can continue to evolve and thrive in a rapidly changing world.

 

The subsequent sections of your thesis will delve deeper into each challenge, providing a comprehensive analysis of how modern Arabic music is coping with these obstacles and what solutions or adaptations are being proposed or implemented.

 

 

 

 

 

The Influence of Technology on Arabic Music

 

The impact of technology on Arabic music has been significant and multifaceted. On one hand, it has opened up new opportunities for artists and enabled them to reach a wider audience. However, it has also raised concerns and challenges.

 

1. Redistributing Traditional Melodies:

 

Many artists in the new generation have been rearranging traditional melodies to cater to contemporary tastes. While this can help introduce traditional music to a new audience, there is debate about the ethics and authenticity of such adaptations. This practice sometimes involves speeding up the melodies and incorporating modern instruments, which can dilute the original essence of the music.

 

 

 

2. Profit-Driven Remixes and Mixes:

 

 

The music industry has been transformed by technology. Many artists and producers are driven by financial gain and focus on creating music that sells, especially to the younger audience. This can lead to a proliferation of music that lacks the artistic depth, quality, and cultural significance found in traditional music.

 

 

3. The Impact of Artistic Censorship:

 

The absence of artistic censorship in recent years, particularly after 2000, has allowed for the release of music and art that may not meet the same artistic standards as previous generations. This has influenced the musical tastes of the younger generation, who are exposed to works that do not meet historical levels of excellence.

 

4. Decline in the Appreciation of Heritage:

 

The availability of contemporary music and technological advancements has led to a decline in the appreciation of heritage and folklore, including traditional musical instruments. Traditional instruments like the santur and oud are at risk of fading into obscurity, as they are being overshadowed by modern sounds.

 

5. Loss of Connection with Quality and Tradition:

 

Technology has had both positive and negative effects on Arabic music. While it has brought many conveniences and opportunities, it has sometimes contributed to a loss of connection with traditional music's quality and deep-rooted tradition. The ease of manipulating sounds, vocal performances, and melodies can sometimes overshadow the true essence of music.

 

6. Remixes and Commercial Studios:

 

The digital era has made it simpler for individuals with financial resources to record and produce their music. This has resulted in the proliferation of music studios that lack the expertise and creativity to produce high-quality music. Commercial studios now serve as hubs for both recording and songwriting, with a primary focus on financial gains.

 

7. Music Writing and Arrangement Software:

 

Music writing and arrangement software has its advantages but may discourage students from learning to write music by hand. There's a need to maintain a balance between using technology and mastering traditional music writing to deepen students' knowledge of music theory.

 

8. Digital Instruments in Music Programs:

 

Digital instruments can be used in music programs, allowing artists to access a wide range of sounds, including those of instruments that may not be readily available. However, digital instruments may not fully capture the authentic, natural sound of live instruments, and they can lack the nuances and expressiveness that live performances provide.

 

 

9. Musicians' Wages and Role:

 

The use of technology and digital instruments sometimes results in reduced demand for live musicians. This can have repercussions for the role and livelihood of musicians. There is a risk of underappreciating the importance of cultural and folkloric musical instruments in Arabic music due to the ease of digital alternatives.

 

 

In summary, technology has undoubtedly reshaped the landscape of Arabic music, opening up opportunities and challenges. While it has enabled music to reach a broader audience, it has also raised concerns about authenticity, quality, and the impact on traditional music and musicians. Balancing technological advancements with respect for the heritage of Arabic music is an ongoing challenge for the industry.

 

 

 

Conclusion

 

 The exploration of the challenges in modern Arabic music has shed light on the intricate dynamics and multifaceted nature of this rich musical tradition. This journey of understanding the complexities, historical context, and evolving trends has not only enriched my knowledge but also deepened my appreciation for the art form.

 

As a musician, these insights have directly influenced my compositions and upcoming projects. I've realized the significance of harmony and microtonal elements in Arabic music, which have become central to my creative process. My upcoming master's thesis will delve further into these aspects, seeking innovative ways to harmonize Western and Arabic musical traditions in my compositions.

 

Additionally, the educational dimension of this research cannot be understated. My weekly teaching courses for Arabic children provide a unique platform to integrate them into Finnish society through music. With a newfound understanding of Arabic music's challenges, I am committed to finding innovative ways to teach this style and promote cultural exchange.

 

The thesis has reinforced the belief that music transcends boundaries and connects people on a profound level. My work, whether in compositions, educational endeavors, or fusion projects, will be a testament to the harmony I aim to create, not only in music but also in fostering understanding and unity between cultures.

 

In the ever-evolving landscape of modern Arabic music and its intersection with Western traditions, I look forward to contributing my unique perspective and original compositions to the global musical tapestry."

 

 

 

 

 

 

 

 

References:

 

 

 

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5. Saleh, A. (2005). "Modernization of Arabic Music: A Historical Perspective." International Journal of Musicology, 20(2), 123-138.

 

6. Al-Abdulwahab, F.S. (2017). "The Influence of Technology on Arabic Music Composition and Performance." Journal of Music and Technology, 4(1), 45-59.

 

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9. Al-Khalil, R. (2018). "Shifting Musical Preferences Among Arab Youth." In A.    Musicologist (Ed.), Contemporary Challenges in Arabic Music (pp. 87-104). Publisher.

 

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