Anthropology and music in Arabian society on change and originality in the music of the Arabs

When I was invited to read a paper on the theme of this conference, namely anthropology and music, I asked myself whether I could speak at all of anthropology in a society that traces its cultural history back to the sixth century. The question became more critical indeed when I combined the terms «anthropology» and «music» to find out that the two terms can be replaced with «ethnomusicology». In spite of the fact that the combination of the prefix «ethno» with «musicology» is truly spoken disappointing, especially when applied to examine the music of a nation that has a total population estimated at one hundred millions, my paper shall discuss two aspects of contemporary Arabian music, namely originality and change, with special emphasis on socio-cultural contexts. The essence of Arabian culture rests on the following assumptions: 1. the Arabic language, which helps to express the intellectual-spiritual processes of the members of this culture and plays a decisive role in the development and transmission of cultural achievements. 2. Islam, which was decisive in the propagation and shaping of Arabian culture, and still is today. Without it, the social, spiritual and material aspects of this culture cannot be understood. 3. Tradition, that is the manners and customs which determine the conduct of the Arab within the family and society. The cultural heritage of the Arabs may be defined as the ways they work out their cultural ideas in practice and the ways they actually do live. Thereupon, music belongs indeed to the cultural heritage of the Arabs. Ethnomusicology handles music attentively as an indispensable and precious part of culture and often tends rightly to emphasize the fears for destruction of a musical heritage. However, the discipline ethnomusicology does not overlook the inevitability of change in music especially in our modern times after a speedy diffusion of mass media and technology, that crept almost in every region on the globe. Notwithstanding the connotation of anthropology and music, I shall discuss originality and change at a particular period and in a certain region. I shall look into a system of ideas that have been transmitted down through generations and contributed a great deal to control change in music-making. Thereafter, I shall look into a modern technique of music creation that disregards an essential principle of traditional music and consequently weakens the notion of originality in music. Change has been taking place rapidly in modern Arab society ever since the end of the 19th century and innovation has been affecting in a way the conception of originality in music. Change and originality will be investigated in two generic forms of Arab music: the andalusi nubah in Morocco, also known as alah and ghirnati (Granadan), and the repertory of contemporary pan-Arab music that broadcasting stations constantly transmit all over the Arab region. One integral component in each case will be discussed. In the andalusi nubah in Morocco I shall elaborate the vocal form sarfah and in the repertory of the pan-Arab music I shall illustrate the vocal form ughniyah. In both cases I shall investigate the notion «change» and «originality» in the creations of traditional and modern composers. In the case of the andalusi music change and originality are safeguarded through tradition and by several controlling circumstances, while in the pan-Arab music change and originality are jeopardized. Both subject matters, change and originality, could be investigated from an anthropological, a musical, sociological, ethical or commercial point of view. Anthropology in Arabian society is indeed culture at large