Relevant bibliographies by topics / Arabic theory of music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Arabic theory of music'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Arabic theory of music"

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Lucas, Ann. "Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century." Ethnomusicology 66, no. 1 (April 1, 2022): 189–91. http://dx.doi.org/10.5406/21567417.66.1.12.

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BARONTINI, MICHELE, and TITO M. TONIETTI. "ʿUMAR AL-KHAYYĀM’S CONTRIBUTION TO THE ARABIC MATHEMATICAL THEORY OF MUSIC." Arabic Sciences and Philosophy 20, no. 2 (August 26, 2010): 255–80. http://dx.doi.org/10.1017/s0957423910000032.

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AbstractWe here present the Arabic text, with an English translation, of certain pages dedicated by al-Khayyām to the mathematical theory of music. Our edition is based on a manuscript extant in a library in Manisa (Turkey), and corrects the mistakes found in another transcription. Lastly, we compare the theory of al-Khayyām with other Arabic theories of Music, and with those coming from other traditions.
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Mangialardi, Nicholas. "Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century." Journal of American Folklore 134, no. 533 (July 1, 2021): 360–61. http://dx.doi.org/10.5406/jamerfolk.134.533.0360.

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Boulos, Issa. "Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century. By Johnny Farraj and Sami Abu Shumays." Music and Letters 102, no. 1 (February 1, 2021): 171–72. http://dx.doi.org/10.1093/ml/gcab018.

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Et.al, ZaharulLailiddinSaidon. "The Development and Evaluation of a Song Album as an Instructional Material for the Teaching and Learning of Basic Arabic Language in Malaysian Primary Schools." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 370–80. http://dx.doi.org/10.17762/turcomat.v12i3.741.

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This article reports on a research project aimed at developing and evaluating a song album as an instructional material for the teaching and learning of basic Arabic language in Malaysian primary schools. Generally, the procedure for undertaking the research project could be divided into four different stages, namely (i) the gathering of ideas for the music arrangement for all the nine songs in the album; (ii) development of the song album; (iii) evaluation of the developed song album; and(iv) improvement and refinement of the song album. The results show that characteristics of suitable music arrangementfor the songs in the album are as follows: (i) modern music instruments combined with local and Arabic traditional music instruments so as to make the compositions more unique and interesting, (ii) the use of a variety of rhythmic styles;combining modern and traditional elements including middle east rhythm, (iii) employment of the combination of adult and children singers (iv) varied tempo with vibrant and energetic mood (v) take into account the possibility of combining singing of the songs with dance and movement activities. According to evaluation by the panel of experts, the songs in the albumareof good quality in both the aspects of singing and music arrangement. Meanwhile the results on the aspect of usability found that all of the songs in the album are attractive and suitable to be used as instructional material for the teaching and learning of basic Arabic language to year one pupils in Malaysian primary schools. The song album could facilitate Arabic language teachers to be more confident in carrying outsingingactivities in their classroom as outlined in the Year One Arabic language textbook published by the Ministry of Education. Consequently, by employing singing activities using the songs in the album could help to make their lessons more engaging, attractive and effective.
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Rasmussen, Anne K. "Theory and practice at the ‘Arabic org’: digital technology in contemporary Arab music performance." Popular Music 15, no. 3 (October 1996): 345–65. http://dx.doi.org/10.1017/s0261143000008321.

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The synthesizer is ubiquitous on the Arab–American musical scene. Heard at every party, and on every recording, the synthesizer sings the lingua franca of international popular music. While the facade and the body of the synthesizer consist of neutral, slick, black plastic and metal technology, the soul of the instrument, when played by Arab–American musicians, is capable of a completely indigenous, if synthetic, musical idiom. In this article I draw on my experience of six performers of the Arabic ‘org’, commonly known today as ‘keyboards’, to present a sketch of a modern musical tradition.
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El-Shawan, Salwa, and Amnon Shiloah. "The Theory of Music in Arabic Writings (c. 900-1900): Descriptive Catalogue of Manuscripts in Libraries of Europe and the U. S. A." Yearbook for Traditional Music 17 (1985): 219. http://dx.doi.org/10.2307/768450.

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Mahendra, Benny, Noor Cahaya, and Muhammad Najamudin. "Music Accompaniment Of Japin Carita South Kalimantan." Jurnal Seni Musik 10, no. 1 (June 30, 2021): 76–80. http://dx.doi.org/10.15294/jsm.v10i1.42883.

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This research was conducted due to the lack of public knowledge about the music accompaniment of Japin Carita from South Kalimantan. This research focused more on the theory and practice of music science regarding the music accompaniment of this local South Kalimantan theater. This research used naturalistic qualitative method because it was held in natural conditions (natural setting), this method is also called the ethnographic method. Data gathering techniques include; observation, interview, documentation. Data analysis techniques include data reduction, data presentation, and verification. Japin Carita is a traditional theater art from South Kalimantan which is derived from the art of Japin, a dance that originates from Arab. The word Japin in Arabic originating from the word zafin which means fast footwork, and just like the definition Japin dance movement is indeed prioritizing foot movements. The structure of musical forms that can be used as music accompaniment to Japin Carita are; Gasim, Takzim, Rawis, Melagu, Nyanyian, and Tahtim. Japin music in Japin Carita theater is not only for the opening music, but also when the actors enter and leave the stage, and for the closing music. Music illustrations depicting the atmosphere of a place or the mood of an actor, whether sad, afraid, anxious, happy and so on must also follow the rhythm of Japin music. Japin Carita musical instruments consist of baboons, gongs, violins, keprak, and gambus. The function of Japin music accompaniment includes entertainment media, communication media, symbolic tribute, physical responses, continuity media, cultural statistics, and atmosphere proponent of the Japin Carita play/ script.
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Gulzhikhan, Nurysheva, and Tercan Nurfer. "AL-FARABI’S PHILOSOPHY OF MUSIC." Al-Farabi 74, no. 2 (June 30, 2021): 3–17. http://dx.doi.org/10.48010/2021.2/1999-5911.01.

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Scientists propose to understand the effect of music on the human psyche, knowledge about the soul, science, metaphysics, and spheres. At the center of all these discussions, we assume researchers are not focusing on how music triggers emotions. In this century we live in, most writers agree that this is the most crucial issue. Today’s researchers want to know why music creates strong emotional reactions in people with scientific explanations. Our study aims to find answers to today’s questions between the 9th and 10th centuries, indicated as the golden age of Islamic culture. We aimed to shed light on the answers to the questions of today’s researchers about the effect of music on the human soul. This article focuses on the second teacher’s approach to cosmology and how the various sciences contribute to the study of the heavens. After a survey of the sources available to Al Farabi, which helps to contextualise his work in light of the Greek legacy and the Arabic intellectual climate of his day, authors define his conception of the scientific method and to show the relation between scientific practice and theory. With a multidisciplinary approach to the history of philosophy and astronomy, Al Farabi’s philosophy of music contributes to physics, metaphysics and astronomy. As a result, our article contains the formulation of innovative, philosophical musical ideas. It is an effort that emerged in the formulation of Al Farabi’s Ptolemaic astronomy. The guiding subject of our research provided a holistic approach to the Aristotelian and Neoplatonic theories that complement each other. Adopting this perspective allows for a broader study of music within a particular culture or situation. The article examines ‘Kitab Al Musiqa’ research in the light of a definition of music that embraces the diversity of music using universal methods. Music is a significant and integral dimension of human improvement.
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Crossley, John N. "THE WRITINGS OF BOETHIUS AND THE COGITATIONS OF JACOBUS DE ISPANIA ON MUSICAL PROPORTIONS." Early Music History 36 (September 12, 2017): 1–30. http://dx.doi.org/10.1017/s0261127917000043.

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Thirteenth-century music theory, which followed the ideas of Boethius, was very largely concerned with the numerical proportions associated with musical intervals. Numbers provided an intellectual foundation that did not suffer from the vagaries of the senses. In general neither Boethius nor his greatest exponent, Jacobus (writing c. 1320), explained how they obtained the numbers they used. In this essay I attempt to reconstruct their methods and show how they developed ideas from the first-century Nicomachus to achieve their aims. Jacobus is explicit in saying that the use of the relatively newly introduced methods of algorism – calculating with Arabic numerals – made his cogitations easier. I shall argue that the manuscripts we have of his Speculum musicae show that Jacobus did indeed use algorism in his work.
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Dissertations / Theses on the topic "Arabic theory of music"

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Khodier, Nesma Magdy VCUQ. "The Future of Arabic Music: No sound without silence." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4170.

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For centuries, Arabic music has been intrinsically linked to Arab culture and by extension bonded to the environmental landscape of the region, reflecting their emotions, moods, and behaviors. Numerous technological advancements in the latter half of the twentieth century, have greatly affected the rich legacy of Arabic music, significantly impacting the natural progression of traditional Arabic musical genres, scales, and instrumentation. This thesis serves as an introduction to generative methods of music production, specifically music generated through gestures. Through generative music, and its unique ability to map gestures to different musical parameters, music can be produced using computer algorithms. The outcome of this thesis aims to demystify the intricacies of recent technological advancements to enable the musician and the audience to incorporate responsive technology into their ensembles. This approach aims to further evolve Arabic music, using the concepts of Arabic music creativity while addressing international accessibility through integration. The intention of this thesis is to bridge between the contemporary and the traditional Arabic audiences and provides insight into a possible future of Arabic music based on its own fundamental principles.
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TAMADLA, SAID. "X-bar Theory and Standard Arabic." Thesis, Högskolan Dalarna, Engelska, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2897.

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Stoetzer, Wilhelmus Franciscus Gerardus Josephus. "Theory and practice in Arabic metrics /." Leiden : het Oosters instituut, 1989. http://catalogue.bnf.fr/ark:/12148/cb377016818.

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Winchester, Lindley. "Egyptian Arabic Plurals in Theory and Computation." UKnowledge, 2014. http://uknowledge.uky.edu/ltt_etds/4.

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This paper examines the plural inflectional processes present in Egyptian Arabic, with specific focus on the complex broken plural system. The data used in this examination is a set of 114 lexemes from a dictionary of the Egyptian Arabic variety by Badawi and Hinds (1984) collected through comparison of singular to plural template correspondences proposed by Gadalla (2004). The theoretical side of this analysis tests the proposed realizational approach in Kihm (2006) named the “Root-and-Site Hypothesis” against a variety of broken plural constructions in Egyptian Arabic. Categorizing concatenative and non-concatenative morphological processes as approachable in the same manner, this framework discusses inflection as not only represented by segments but also by “sites” where inflectional operations may take place. In order to organize the data through a computational lens, I emulate features of this approach in a DATR theorem that generates the grammatical forms for a set of both broken and sound plural nominals. The hierarchically-structured inheritance of the program’s language allows for default templates to be defined as well as overridden, permitting a wide scope of variation to be represented with little code content.
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Earnhart, Cari L. "Cross-culture Choral Music Education: Issues for Western Choral Conductors Related to the Performance of Arabic Choral Music." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804962/.

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The concept of choral music as defined by the Western world was foreign to Arab cultures until the colonization of the Arab world began in the seventeenth century when we began to see the Western choral style emerging in the churches of the Arab world. Group singing of traditional music was done in unison or heterophonic textures. Notated part-singing is a product of colonization, Westernization, Christianization, and now globalization. In recent years, singing music in mixed or multiple voicings not of a heterophonic nature has spread beyond the churches to the secular Arab world. As choral singing has increased in the Arab world, a new genre of Arabic choral music has emerged. In order for Western conductors to effectively teach, conduct, or perform these new works, it is important for them to develop a basic understanding of traditional Arabic musical styles and pronunciation of the language, thereby making Arabic choral music more accessible and enabling it to become a part of the larger world’s musical vocabulary. This study serves as an introductory resource for non-Arab choral conductors concerning key elements related to performing Arabic choral music and provides a context for how these elements relate to this evolving choral genre. In addition, through interviews with composers and conductors of Arabic choral music, this project will further inform the reader regarding the performance of this genre.
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Alkoot, Hamid A. "Undergraduates' familiarity with and preference for Arabic music in comparison with other world music." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536744.

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This study examined undergraduate, non-music majors’ familiarity with and preference for Arabic music as compared to other world music. Several factors were examined to assess their effect on music preference including familiarity, musical characteristics, and student characteristics. Study participants included 203 undergraduate, non-music majors enrolled in six sections of music appreciation classes. Participants were divided into Caucasian and non- Caucasian groups ranging from 18 to 42 years of age. Music excerpts from Africa (Congo), Latin America (Mexico), Asia (Japan), and the Middle East (Kuwait) were used as examples of different world music. Arabic music was introduced as a new factor in this study that had not been explored in previous research. Knowing about students’ familiarity and preference for Arabic music may help in understanding the ramifications of its inclusion in music programs, and the proper method of introducing it to the students in the classroom. Participants listened to the 12 musical excerpts and completed the WMFPT questionnaire. Results indicated that participants were not familiar with the world music excerpts, but did like the excerpts to a moderate degree. Significant positive relationships were found between preference and familiarity, within preference ratings, and within familiarity ratings. The most influential musical characteristics in liking world music were rhythm, tempo, and timbre, with rhythm being the most influential. Participants’ background seems to have no significant relationship with either familiarity or preference. Results revealed that playing a musical instrument, musical training, and previous exposure to music of other cultures significantly affected preference and familiarity ratings.
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Haecker, Arthur John IV. "The Tarab trombone: trombone etudes and solos based on Arabic music." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3462.

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Elzeer, Nada. "The Arabic terminology of critical theory : a theoretical and practical approach." Thesis, Durham University, 2005. http://etheses.dur.ac.uk/1766/.

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Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.

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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than those in other fields. After reviewing some of the salient distinctions between scientific and nonscientific endeavors, some of Kuhn's insights into science are found to clarify an issue in the history of music theory, namely the nature of the succession from figured-bass theory to the formulations of J. P. Rameau.
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Diener, Glendon. "Formal languages in music theory." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59610.

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In this paper, the mathematical theory of languages is used to investigate and develop computer systems for music analysis, composition, and performance. Four prominent research projects in the field are critically reviewed. An original grammar-type for the computer representation of music is introduced, and a computer system for music composition and performance based on that grammar is described. A user's manual for the system is provided as an appendix.
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Books on the topic "Arabic theory of music"

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Powers, Cameron. Arabic musical scales: Basic maqam teachings. Boulder, Colo: G.L. Designs, 2005.

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Cameron, Powers, ed. Arabic musical scales: Basic maqam teachings. Boulder, Colo: G.L. Designs, 2005.

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Fārābī. Kitāb al-Mūsīqī al-kabīr. Frānkfūrt, Jumhūrīyat Almāniyā al-Ittiḥādīyah: Maʻhad Tārīkh al-ʻUlūm al-ʻArabīyah wa-al-Islāmīyah fī iṭār Jāmiʻat Frānkfūrt, 1998.

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Shiloah, Amnon. The theory of music in Arabic writings (c. 900-1900): Descriptive catalogue of manuscripts in libraries of Egypt, Israel, Morocco, Russia, Tunisia, Uzbekistan, and supplement to B X. München: G. Henle Verlag, 2003.

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Mathiesen, Thomas J. Ancient Greek music theory: A catalogue raisonné of manuscripts. München: G. Henle Verlag, 1988.

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Amīr, Sālim Ḥusayn. Dalīl salālim al-maqāmāt al-ʻArabīyah. Aʻẓamīyah, Baghdād, al-ʻIrāq: Dār al-Shuʼūn al-Thaqāfīyah al-ʻĀmmah, Wizārat al-Thaqāfah wa-al-Iʻlām, 1986.

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Ibn al-Nadīm al-Mawṣilī, Isḥāq ibn Ibrāhīm, 771 or 2-849 or 50, Abū al-Faraj al-Iṣbahānī, 897 or 8-967, Ibn Khurradādhbih, ʻUbayd Allāh ibn ʻAbd Allāh, ca. 820-ca. 912, Baṭalyawsī, ʻAbd Allāh ibn Muḥammad, 1052 or 3-1127, Kindī d. ca 873, and Fārābī, eds. Rhythmic theories and practices in Arabic writings to 339 AH/950 CE: Annotated translations and commentaries. Ottawa: Institute of Mediaeval Music, 2009.

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1927-1998, Śarmā Premalatā, Nalini Françoise Delvoye, and ITC Sangeet Research Academy (Calcutta, India), eds. Nūr-ratnākar: A bio-bibliographical survey, and techno-historical study, of all available important writings in Arabic, Persian, Sanskrit, and other allied languages on the subject of song, dance, and drama. Kolkata: ITC Sangeet Research Academy, 2003.

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Dubyān, Muḥammad ʻAbd al-Hādī. al- ʻAlāqah bayna al-mūsīqā al-ʻArabīyah wa-al-mūsīqā al-ʻālamīyah ʻabra al-ʻuṣūr. [Cairo?: s.n.], 1997.

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Dubyān, Muḥammad ʻAbd al-Hādī. al-ʻAlāqah bayna al-mūsīqā al-ʻArabīyah wa-al-mūsīqā al-ʻālamīyah ʻabra al-ʻuṣūr. [Cairo: s.n., 1997.

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Book chapters on the topic "Arabic theory of music"

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Terefenko, Dariusz. "Music Fundamentals." In Jazz Theory, 3–15. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315305394-1.

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Abdelaal, Noureldin. "Translation Theory." In Translation between English and Arabic, 9–67. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-34332-3_2.

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Terefenko, Dariusz. "Music Fundamentals." In Jazz Theory Workbook, 3–6. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445477-1.

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Campbell, Ian. "Criticism and Theory of Arabic SF." In Arabic Science Fiction, 77–117. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91433-6_4.

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Navas, Eduardo. "Remix[ing] Music." In Remix Theory, 33–61. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1263-2_3.

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Snoman, Rick. "Mixing theory." In Dance Music Manual, 423–34. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453830-34.

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Mazzola, Guerino, Maria Mannone, Yan Pang, Margaret O’Brien, and Nathan Torunsky. "Creativity Theory." In Computational Music Science, 173–76. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47334-5_20.

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Mazzola, Guerino, Maria Mannone, and Yan Pang. "Modulation Theory." In Computational Music Science, 191–202. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42937-3_23.

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Mazzola, Guerino. "Stemma Theory." In Computational Music Science, 191–200. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11838-8_21.

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Shahin, Kimary N. "Vowel innovation in Arabic." In Current Issues in Linguistic Theory, 429–45. Amsterdam: John Benjamins Publishing Company, 2003. http://dx.doi.org/10.1075/cilt.241.20sha.

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Conference papers on the topic "Arabic theory of music"

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Kohl, Marie-Anne. "Die weinende Jury. »Geschlechtslose« Tränen bei globalen Musik-Castingshows?" In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.59.

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Tears are flowing. Whether Yvonne Catterfeld, Kazim as-Sahir, Unati Msenga-na, Liu Huan, Simon Cowell or Lira – they are all part of a jury of global music casting show formats such as The Voice, Idol or Got Talent and show their tears in front of the camera, seemingly ashamed and yet completely uninhibited. Their tears flow in reaction to ‘particularly soulful’ music titles or to the candidates’ tragic personal stories, paired with the ‘right’ song selection. The display of great emotions is an essential element of reality TV formats. With Sara Ahmed, they can be understood in the sense of an ‘affective economy’ as an effect of their circulation, their staging as a specific ‘emotional style’ of dealing with emotions (Eva Illouz). The circulation of affects in casting shows is a global one, since the formats, developed in Europe, have produced local versions in over 60 countries worldwide. Emotions play an important role in the successful localization of the formats and define a complex area of conflict between a sensitization to socio-cultural characteristics and the ‘reproduction of culturalistic concepts’ (Laura Sūna) or clichés. In European cultural history, tears have developed a special significance as guarantors of the authenticity of empathy (Sigrid Weigel), and are generally associated with femininity, however at the same time have been film-historically recoded as ‘gender-neutral’ (Renate Möhrmann). Keeping in mind that all these casting show formats have been exported from Europe, these observations are of special interest, especially since one can see men and women crying equally in the Arabic, German or South African versions of e. g. The Voice. This article questions the concurrence of musical performance, display of tears, gender performance and the translocal dramaturgy of music casting shows.
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Cunningham, Sally Jo. "An Analysis of Arabic Language Music Queries: Design Considerations for an Arabic Music Digital Library." In 2019 ACM/IEEE Joint Conference on Digital Libraries (JCDL). IEEE, 2019. http://dx.doi.org/10.1109/jcdl.2019.00056.

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Soboh, Lama, Islam Elkabani, and Ziad Osman. "Arabic Cultural Style Based Music Classification." In 2017 International Conference on New Trends in Computing Sciences (ICTCS). IEEE, 2017. http://dx.doi.org/10.1109/ictcs.2017.36.

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Al Dakkak, Oumayma, and Ahmad Zein. "Towards Arabic Electronic Dictionary." In Communication Technologies: from Theory to Applications (ICTTA). IEEE, 2008. http://dx.doi.org/10.1109/ictta.2008.4530327.

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Rashid, Sabbir M., David De Roure, and Deborah L. McGuinness. "A Music Theory Ontology." In SAAM '18: 1st International Workshop on Semantic Applications for Audio and Music. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3243907.3243913.

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Sanan, Majed, Mahmoud Rammal, and Khaldoun Zreik. "Internet Arabic Search Engines Studies." In Communication Technologies: from Theory to Applications (ICTTA). IEEE, 2008. http://dx.doi.org/10.1109/ictta.2008.4530003.

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Calilhanna, Andrea M., Stephen G. Onwubiko, and Adebowale O. Adeogun. "Mathematical music theory of embodied acoustics of Ikoro music using beat-class theory." In 178th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001276.

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Calilhanna, Andrea Mary, and Stephen Gbakobachukwu Onwubiko. "Mathematical music theory and the representation of Igbo music." In 178th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001136.

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Kassler, M. "APL applied in music theory." In the international conference. New York, New York, USA: ACM Press, 1988. http://dx.doi.org/10.1145/55626.55654.

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Sonbol, Riad, Nada Ghneim, and Mohammed Said Desouki. "Arabic Morphological Analysis: a New Approach." In Communication Technologies: from Theory to Applications (ICTTA). IEEE, 2008. http://dx.doi.org/10.1109/ictta.2008.4530014.

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Reports on the topic "Arabic theory of music"

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Todaro, Michael. Urbanization, unemployment and migration in Africa: Theory and policy [Arabic]. Population Council, 1997. http://dx.doi.org/10.31899/pgy6.1005.

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Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, October 2021. http://dx.doi.org/10.1553/oeai_ambh_3.

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Abstract:
Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.
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Tune Up Your Brain: Enjoying and Engaging in Music Promotes Healthy Aging, Mental Well-Being, and Social Connection: Infographic [Arabic]. Washington, DC: Global Council on Brain Health, August 2020. http://dx.doi.org/10.26419/pia.00103.006.

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