Journal articles: '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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Bambang Afrianto. "Marhaban As A Form Of Qasidah Music Continuity In The City Of Binjai, Northern Sumatra Province." Talenta Conference Series: Local Wisdom, Social, and Arts (LWSA) 3, no. 4 (December 4, 2020): 8–10. http://dx.doi.org/10.32734/lwsa.v3i4.1121.

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This paper describes Marhaban as a form of continuity of Qasidah music, and also describes the existence of this music in the city of Binjai, as an Islamic art. This paper focuses on the discussion of Marhaban, which after being studied in more depth is a form of music that is the same as Qasidah music, both in terms of use, text, presentation, and instrumentation. Researcher use functional theory to describe the social musical context. Then use Halliday’s semiotic to analyze the text of Marhaban. To analyze the musical and instrumentation, I use ethnomusicological structure theory. This paper is a qualitative descriptive study using data collection techniques and methods of literature study and observation, which is used to explain how Marhaban is also a form of music that emerged as a continuity of early Qasidah music in Indonesia. The results are: Marhaban always used in Islamic ceremony, as marriage, circumsition, birthday, and so on. The text of Marhaban in Arabaic, with it’s theme about the histpry of Prophet Muhammad and way of life muslim. The intruments are: rebana (frame drum), and human vocal. The structure of melody used Near East system maqamat plus Malay melody improvisation (called cengkok).

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Di Santo, Federico. "Sull’origine della poesia romanza: ipotesi andalusa e mediolatina alla luce del rapporto fra rima e melodia." Zeitschrift für romanische Philologie 135, no. 2 (June 5, 2019): 535–82. http://dx.doi.org/10.1515/zrp-2019-0029.

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AbstractWithin the long-standing, and yet still lively debate over the origin of Romance poetry in general, and of regular rhyme in particular, one key element appears to have been often overlooked: music. Although it is very well known that Troubadour lyric poems were meant to be sung, their melodic form has so far indisputably been considered to be independent from the formal structure of the texts. However, a radical reconsideration of this common belief, based on a brand-new approach that takes orality into account, leads to the opposite conclusion that regular rhyme schemes, at their origins, were indeed closely related to the musical form of the songs. Linking rhymes to music may therefore represent a potentially decisive argument in the quest for the origin of Romance lyric poetry. For, even if rhymes and rhyme schemes may be found in many different and independent literary traditions, their structural relation to musical form is by far much rarer, hence offering a much more specific hint about the origin of Vernacular lyric forms, which are based on regular rhyme schemes. Tracing this metrical-musical technique back to its roots, may validate once and for all one of the two main theories competing around the origin of Vernacular lyric poetry, namely the Medieval Latin and the Andalusian Arabic theory.

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Dyer, Rebecca. "Poetry of Politics and Mourning: Mahmoud Darwish's Genre-Transforming Tribute to Edward W. Said." PMLA/Publications of the Modern Language Association of America 122, no. 5 (October 2007): 1447–62. http://dx.doi.org/10.1632/pmla.2007.122.5.1447.

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This essay provides an analysis of “Tibaq,” an elegy written in Edward W. Said's honor by the acclaimed Palestinian poet Mahmoud Darwish. Noting that the poem exhibits aspects of a number of genres and demonstrates Darwish's generally innovative approach to traditional literary forms, I consider how he has transformed the marthiya, the elegiac genre that has been part of the Arabic literary tradition since the pre-Islamic era. I argue that Darwish used the elegy-writing occasion to comment on Said's politics and to make respectful use of his critical methods, particularly his interdisciplinary borrowing of counterpoint, a concept typically used in music analysis. By reworking the conventional marthiya to represent Said's life in exile and his diverse body of work and by putting his contrapuntal method into practice in the conversation depicted in the poem, Darwish elegizes a long-lasting friendship and shores up a shared political cause.

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Daukeyeva, Saida. "Rhythmic Theory and Practice in Early Arabic Music - George Dimitri Sawa. Rhythmic Theories and Practices in Arabic Writings to 339 AH/950 CE. Annotated Translations and Commentaries. Musicological Studies Vol. XCIII. Ottawa, Canada: The Institute of Mediaeval Music, 2009. xvi + 639 pages. Musical examples, tables, mathematical and musical symbols, Arabic-Greek-English glossaries, bibliography, index. Paper n.p. ISBN 978-1-896926-98-8." Review of Middle East Studies 44, no. 2 (2010): 216–18. http://dx.doi.org/10.1017/s215134810000152x.

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Dajani, Karim. "The Arabic Freud: Psychoanalysis and Islam in Modern Egypt by Omnia El Shakry." American Imago 76, no. 3 (2019): 413–21. http://dx.doi.org/10.1353/aim.2019.0031.

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Flores, Alexander. "Offenbach in Arabien." Die Welt des Islams 48, no. 2 (2008): 131–69. http://dx.doi.org/10.1163/157006008x335912.

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AbstractTwice, the theatre of Jacques Offenbach exerted a marked influence on musical theatre in Egypt. The first occasion was a number of performances of his most popular opéra-bouffes, in French and by French artists, around 1870. The ruler, Ismā'īl, tried to introduce European culture in Egypt and gave Offenbach's work a central role in that endeavour. With Ismā'īl's decline, that attempt was discontinued. The second appearance occurred in 1920/21. Then, two of the most popular musical comedies of the famous Egyptian composer Sayyid Darwīš had Offenbach's works as their sources. These works were translated into Egyptian Arabic, given an oriental setting and an Egyptian colour, e.g. by having the lyrics written by popular Egyptian poets. The main message of the original pieces—attacking the military and the authorities in general by ridiculing them—was changed by introducing a clear anti-Turkish thrust, thus castigating the aristocracy ruling Egypt at the time of the adaptation and, by implication, the British occupation. Whereas the text of the Egyptian pieces was quite closely inspired by the French originals, the music shows no signs of direct influence by Offenbach—it is vintage Sayyid Darwīš. The article also sheds some light on the musical theatre of the brothers Rahbānī in Lebanon that has not been directly inspired by Offenbach but exhibits a spirit quite close to his and thus lends itself to a comparison.

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Burnett, C. "On Music: An Arabic Critical Edition and English Translation of Epistle 5. Ed. and trans. by Owen Wright * Music Theory in Mamluk Cairo: The yat al-matl b f 'ilm al-adw r wa-'l- dur b by Ibn Kurr. By Owen Wright." Music and Letters 96, no. 2 (May 1, 2015): 267–69. http://dx.doi.org/10.1093/ml/gcv031.

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Sehrana, A. "AZERBAIJAN-ARABIC MUSIC RELATIONS." East European Scientific Journal 2, no. 6(70) (July 10, 2021): 7–13. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.70.73.

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The article examines the features of Azerbaijani art and musical culture of the Near and Middle East. Referring to fundamental scientific sources, the author informs about the revival of the Arab world, oriental culture and art in the Middle Ages, characterizes interstate relations of this historical period. Lyric and philosophical poems, love-lyric songs (gazelles), epic and religious legends, odes and praises became the subject of consideration. The work of the great Nizami Ganjavi and other Azerbaijani poets is discussed, their works are analyzed, which reflect the role of music in human life, emphasize its importance in the formation of personality and the impact on his emotional and spiritual-psychological state. The author provides examples from musical treatises of great Azerbaijani thinkers, gives a comparative description of these treatises with scientific and theoretical studies of oriental musicologists who lived and worked in the Middle Ages. They are included in the article as paragraphs.

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Sonneborn, Daniel Atesh, Marcel Khalife, Talal Haidar, Mohammed El-Abdellah, Joseph Harb, Khalil Hawi, Mahmoud Darwish, Abido Basha, and Yosefa Dahari. "Arabic Coffeepot." Asian Music 29, no. 2 (1998): 152. http://dx.doi.org/10.2307/834373.

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Haddad, Rami. "Integration of Arabic and Western music by means of introducing Arabic music in German primary music curricula." Musik-, Tanz- und Kunsttherapie 19, no. 1 (January 2008): 11–21. http://dx.doi.org/10.1026/0933-6885.19.1.11.

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Abstract. The purpose of this study was to obtain the opinion of German music students engaged in two musical fields, music education and musicology, concerning the introduction of Arabic music in German schools and eventually into German society. As music is widely considered a language that can be understood and perceived all around the world, even if each style of music has its own identity and reflects the culture of its nation, it can still be considered as a means of integrating the West and the East, as well as the North and the South. The results of this study show that Arabic music can be accepted and understood by German music students from both fields of study. These students see the advantages and benefits of introducing Arabic music to German schools.

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Haines, John. "The Arabic style of performing medieval music." Early Music XXIX, no. 3 (August 2001): 369–80. http://dx.doi.org/10.1093/earlyj/xxix.3.369.

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Haines, J. "The Arabic style of performing medieval music." Early Music 29, no. 3 (August 1, 2001): 369–78. http://dx.doi.org/10.1093/em/29.3.369.

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Hall, R. W. "MUSIC THEORY: Geometrical Music Theory." Science 320, no. 5874 (April 18, 2008): 328–29. http://dx.doi.org/10.1126/science.1155463.

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Tageldin, Shaden M. "The Returns of Theory." International Journal of Middle East Studies 43, no. 4 (November 2011): 728–30. http://dx.doi.org/10.1017/s002074381100095x.

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For the discipline of Arabic literature in the United States, “theory” is a double entendre: promise, danger. Until the mid-1990s, U.S. Arabic literary studies was landlocked in Near Eastern language departments, whose “anti-theoretical” bent Magda Al-Nowaihi imputes to dependence on U.S. government and Gulf state support. Theory is “dangerous” to such funders, Al-Nowaihi maintains, because it traffics in “the relations between knowledge and power. . . . The result is a situation where European departments produce the theory, we provide the raw material.” “Theory” is what Arabic literature needs—to become a site and an agent of aesthetic-political critique—yet lacks because powers of state insulate its energies within microtextual hermeneutics. Uniquely empowered to translate Arabic literature from particularist “ghetto” to universalist (Euro-dominant) “center” through the abstracting medium of “theory,” then, “European departments” control Arabic literature's legitimization. What emerges is a curious chiasmus: “theory” is at once a danger to state power and a desideratum for Arabic literature, on the one hand, and a seat of institutional power within the U.S. humanities and a danger to Arabic literature, on the other.

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AYARI, MONDHER, and STEPHEN McADAMS. "Aural Analysis of Arabic Improvised Instrumental Music (Taqsīīm)." Music Perception 21, no. 2 (2003): 159–216. http://dx.doi.org/10.1525/mp.2003.21.2.159.

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This study addresses the perception of Arabic improvised music. The modal musical system (maqāām) as well as the model par excellence of instantaneous musical exposition and composition——instrumental improvisation (taqsīīm)——are presented. The classical Arabic maqāām (plural maqāāmāāt) is defined in terms of other fundamental interactive elements. The role of modal perception in the mental organization of a taqsīīm performed on the ``ūūd was explored with tasks involving the identification of musical elements, the segmentation of the musical work, and verbal descriptions and performed melodic ““reductions”” of the segments. Strong differences in identifications and segmentations are found between listeners of European and Arabic cultural origins. Both groups make segmentations on the basis of salient surface features such as pauses and register changes, but Arab listeners make segmentations that are defined by subtle modal changes that often go unnoticed by the Europeans. However, not all of the Arab listeners agree on where such changes take place or even sometimes on which maqāāmāāt are being played. One major ambiguity in maqāām identification in the taqsīīm studied is discussed in detail. The melodic reductions of segments in a given maqāām reveal the nature of Arabic modes as involving not just a tuning system, but also essential melodico-rhythmic configurations that are emblematic of the maqāām. A music-analytic approach to the deployment of the maqāāmāāt within the form of the taqsīīm that is informed by the perceptual results is developed. This approach involves the factors that lead to implicit recognition of maqāāmāāt, including ambiguities in identification, and those that inform the hierarchical organization of the form on the basis of larger-scale movements among maqāāmāāt.

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BOTHWELL, BEAU. "“For Thee America! For Thee Syria?”: Alexander Maloof, Orientalist Music, and the Politics of the Syrian Mahjar." Journal of the Society for American Music 14, no. 4 (November 2020): 383–418. http://dx.doi.org/10.1017/s1752196320000310.

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AbstractIn 1894 Syrian émigré Alexander Maloof arrived in the United States to join the thriving community in New York's “Syrian Quarter.” Working first as a music instructor and pianist, Maloof found success as a bandleader, composer, arranger, and publisher, integrating Arabic and US popular music and light classical styles. He wrote and edited Arabic-language piano songbooks for the Arabophone communities in the United States, and ran the Maloof Records label, the “Oriental” division of the Gennett Company's “race records” enterprise. Drawing on Arabic-language discourse from around the Syrian mahjar (diaspora), this article uses Maloof's output to demonstrate music's role in the vibrant and contested political conversations taking place in Arabic around the world, from the homelands around Beirut and Damascus, to the initial Syrian settlements in Cairo and Paris, to the American colonies in Sao Paulo, Buenos Aires and New York. Concluding with a discussion of the 1919 “American Maid” (composed under a pseudonym), I argue that a thorough understanding of the history of Orientalist popular music in the Americas requires a decentering of European American audiences in order to examine those questions animating the New York mahjar, most centrally the political fate of greater Syria.

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Reynolds, Dwight F. "Musical Dimensions of an Arabic Oral Epic Tradition." Asian Music 26, no. 1 (1994): 53. http://dx.doi.org/10.2307/834386.

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Biamonte, Nicole. "Online Music Theory in Music Theory Online." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 13, no. 2 (2016): 297–309. http://dx.doi.org/10.31751/903.

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Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States." Middle East Journal of Culture and Communication 12, no. 1 (March 29, 2019): 35–67. http://dx.doi.org/10.1163/18739865-01201006.

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Abstract This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (scholarly and popular) when the musicians come from different traditions and institutions? Can musicians pursue the legacy—and legitimacy—of classical repertoires or do they necessarily have to embrace Arabic pop culture? Finally, (3) while they were part of the elite in their home countries, how are Arab musicians considered outside their musical institutions, in their new countries such as France and the United States? Have they remained elite musicians in the eyes of their new audiences? Or have they simply become ‘popular’ musicians, regardless of the repertoire they play?

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Erez, Oded, and Nadeem Karkabi. "Sounding Arabic: postvernacular modes of performing the Arabic language in popular music by Israeli Jews." Popular Music 38, no. 2 (May 2019): 298–316. http://dx.doi.org/10.1017/s0261143019000059.

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AbstractPopular music in Israel has recently seen a surge in the use of Arabic in music made by Israeli-Jewish musicians. Most of these, although descendants of immigrants from Arab countries, never acquired Arabic at home or in school, owing to national ideology which sought to label Arabic as the language of the non-Jewish other. This article reveals and contextualises this recent trend, offering a typology of the ways in which musicians engage with Arabic, their motivations for doing so and the challenges that they face. Discussing musicians who approach Arabic as Jewish heritage, as an aesthetic repository, or even as mere sound, we identify these mobilisations of Arabic as postvernacular uses of language, which often privilege its non-semantic qualities. Observed in the context of Israeli–Arab enmity, this trend appears to have emerged surprisingly not in spite of, but partly because of, the decline in peace prospects.

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Halabi, Dana, Ebaa Fayyoumi, and Arafat Awajan. "I3rab: A New Arabic Dependency Treebank Based on Arabic Grammatical Theory." ACM Transactions on Asian and Low-Resource Language Information Processing 21, no. 2 (March 31, 2022): 1–32. http://dx.doi.org/10.1145/3472295.

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Treebanks are valuable linguistic resources that include the syntactic structure of a language sentence in addition to part-of-speech tags and morphological features. They are mainly utilized in modeling statistical parsers. Although the statistical natural language parser has recently become more accurate for languages such as English, those for the Arabic language still have low accuracy. The purpose of this article is to construct a new Arabic dependency treebank based on the traditional Arabic grammatical theory and the characteristics of the Arabic language, to investigate their effects on the accuracy of statistical parsers. The proposed Arabic dependency treebank, called I3rab, contrasts with existing Arabic dependency treebanks in two main concepts. The first concept is the approach of determining the main word of the sentence, and the second concept is the representation of the joined and covert pronouns. To evaluate I3rab, we compared its performance against a subset of Prague Arabic Dependency Treebank that shares a comparable level of details. The conducted experiments show that the percentage improvement reached up to 10.24% in UAS and 18.42% in LAS.

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Kozman, Claudia, Amr Selim, and Sally Farhat. "Sexual Objectification and Gender Display in Arabic Music Videos." Sexuality & Culture 25, no. 5 (April 4, 2021): 1742–60. http://dx.doi.org/10.1007/s12119-021-09847-4.

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Perelson, Inbal. "Power relations in the Israeli popular music system." Popular Music 17, no. 1 (January 1998): 113–28. http://dx.doi.org/10.1017/s0261143000000519.

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At the time of writing, several political agreements are being signed, all of which seek, despite their unevenness, peace between Israel and the Arab populations living in its midst. Popular culture in Israel at large, and popular music in particular, is not indifferent to this changing state of affairs. Indeed, numerous groups and singers have emerged whose songs appear primarily to be concerned with combining modern Hebrew with Arabic, and bringing together Israeli singers with Israeli Palestinian and Arabic popular music singers. While this kind of collaboration is becoming increasingly visible, let us not forget that it began in the heyday of the Intifada.

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Kemal, Salim. "Philosophy and Theory in Arabic Poetics." Journal of Arabic Literature 20, no. 2 (January 1, 1989): 128–47. http://dx.doi.org/10.1163/157006489x00172.

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Good-Perkins, Emily. "Arab students’ perceptions of university music education in the United Arab Emirates: A discussion of music education and cultural relevance." International Journal of Music Education 37, no. 4 (June 15, 2019): 524–35. http://dx.doi.org/10.1177/0255761419853627.

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The purpose of this study was to explore with five Arab young adults their perceptions of Western and Arabic musical cultures as well as their perceptions of the Western classical vocal teaching they experienced at an American-modeled university in the United Arab Emirates. Of interest were issues of cultural relevance and the role of music and music education in Arab society. Data collection methods for this study included individual, semi-structured interviews with each participant and three focus group discussions. This paper will explore the following four themes from the interviews: Theme 1: Western classical university music teaching was incongruent with Arabic classical music teaching. Theme 2: Despite the incongruencies, participants found the university music experience to be transformative. Theme 3: Participants have a strong personal connection to Arabic music. Theme 4: Lack of music education has cultural ramifications; however, it is a complex issue. Using Paris’ conception of culturally sustaining pedagogy as a theoretical lens through which to view participants’ perceptions of music and music education in the United Arab Emirates as well as the juxtaposition of heritage and emergent musical traditions within a globalized traditional society, issues of cultural relevance, personal transformation, and musical identity will be further discussed.

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Burnett, Charles. "European Knowledge of Arabic Texts Referring to Music: Some New Material." Early Music History 12 (January 1993): 1–17. http://dx.doi.org/10.1017/s0261127900000127.

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The literature on the problem of Arabic influence on the music and poetry of western Europe in the Middle Ages is vast. The aim of this article is modest. It seeks to draw together some passages on music and musical instruments in Arabic texts that were translated into Latin in the Middle Ages. These texts were not specifically on music, and may have escaped the notice of musicologists for that reason. However, they are interesting in their own right, for they show the role of music in other contexts, such as medicinie, astrology and philolsophy, and exemplify the modifications that took place when texts were transferred from one culture to another.

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S. Al-Dobaian, Abdullah. "Arabic Lexical Phrases." Advances in Language and Literary Studies 12, no. 5 (October 31, 2021): 52. http://dx.doi.org/10.7575/aiac.alls.v.12n.5.p.52.

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The Arabic traditional grammar as well as Chomsky’s mainstream theory may not be able to provide a good analysis of some fixed Arabic phrases. The challenge of such data directly stems from the fact that the general syntactic rules assumed by the two opposing theories cannot explain the syntactic and the semantic aspects of the fixed Arabic data. I argue that the Construction Grammar provides an adequate account that does not rely on syntactic structure alone, as assumed by the mainstream theory or the Arabic traditional grammar, but rather it links phonological, syntactic, and semantic information together in one basic construction by means of some correspondence rules. The Arabic data proves that there is a strong need for a linguistic theory that takes into consideration all data of different range of productivity.

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Boullata, Issa J., and M. M. Badawi. "Modern Arabic Literature." World Literature Today 67, no. 4 (1993): 884. http://dx.doi.org/10.2307/40149790.

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Almazaydeh, Laiali, Saleh Atiewi, Arar Al Tawil, and Khaled Elleithy. "Arabic Music Genre Classification Using Deep Convolutional Neural Networks (CNNs)." Computers, Materials & Continua 72, no. 3 (2022): 5443–58. http://dx.doi.org/10.32604/cmc.2022.025526.

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Ferty, Feila Deo, and Sri Sudiarti. "تأثير الأغنية العربية لتشجيع تعلم اللغة العربية عندالتلاميذ في روضة الأطفال" ألميرا" في أوردري مدينة جامبي." Al-Uslub: Journal of Arabic Linguistic and Literature 4, no. 02 (July 3, 2020): 21–33. http://dx.doi.org/10.30631/al-uslub.v4i02.55.

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The purpose of this study is to: 1) look at the influence of Arabic songs on the spirit of learning Arabic as well as improve the ability of Arabic children with song method 2) to know the change in attitude that occurs towards Arabic language songs with Arabic language songs 3) students can react well to the meaning of Arabic language songs given. This research is very useful in analyzing solid types of literature for psychological problems. Songs and music have a strong relationship with psychological circumstances. The type of research used is qualitative research. Can be inferred from the results of this study :1) Arabic songs can increase the spirit of learning Arabic in children 2) students are motivated and more spirit Arabic language with song methods as well as songs give knowledge about behavior.

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Katz, Israel J., Jochen Scheffer, and Vladimir Ivanoff. "Sarband: Sephardic Songs in the Hispano-Arabic Tradition of Medieval Spain." Yearbook for Traditional Music 30 (1998): 213. http://dx.doi.org/10.2307/768626.

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Kotzamani, Marina. "Lysistrata on the Arabic Stage." PAJ: A Journal of Performance and Art 28, no. 2 (May 2006): 13–41. http://dx.doi.org/10.1162/pajj.2006.28.2.13.

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Zbikowski, Lawrence M. "Music Theory, Music History, and Quicksand." Music Theory Spectrum 33, no. 2 (October 2011): 226–28. http://dx.doi.org/10.1525/mts.2011.33.2.226.

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Anderson, Nancy K. "Music Learning Theory in General Music." General Music Today 8, no. 2 (January 1995): 17–21. http://dx.doi.org/10.1177/104837139500800206.

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Al Aqad, Mohammed H. "Syntactic Analysis of Arabic Adverb′s between Arabic and English: X Bar Theory." International Journal of Language and Linguistics 1, no. 3 (2013): 70. http://dx.doi.org/10.11648/j.ijll.20130103.11.

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Suparno, Darsita, Ulil Abshar, M. Wildan, and Tri Pujiati. "Sound Correspondences of Modern Standard Arabic Moroccan Arabic and Najdi Arabic." Sunan Kalijaga: International Journal of Islamic Civilization 3, no. 2 (September 1, 2020): 27. http://dx.doi.org/10.14421/skijic.v3i2.1905.

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This paper studies the process of sound correspondences that occur in Modern Standard Arabic (MSA), Moroccan Arabic (MAR), and Najdi Arabic (NAR). It attempts to find answers for the following questions: a) What are the identical word pairs, words couples that have a phonemic correspondence, a phonetic similarity, and a pair of words that contains difference of one phoneme, b) What are the process of morphophonemic in the form of assimilation, metathesis, and epenthesis. It is addressed to portray the process of morphophonemic assimilation, metathesis and epenthesis in three Arabic languages using Crowley’s theory. This study used 207 of Morris Swadesh's basic vocabulary as the key standard procedure for collecting data. The criteria adopted to analyze the data were orthographic, sound-change, phonological, and morpheme contrast. This research used descriptive qualitative method. The source of the data was basic-word vocabulary. The data were gathered from three dictionaries as sources to get information. The data were analyzed by using structural linguistics, especially phonology, morphology, and semantics. This investigation informed several aspects of findings such as identifying prefixes, suffixes, assimilation, metathesis, and epenthesis. Using the Swadesh vocabulary list, the results of this study found 207 vocabularies for each language. By analyzing parts of speech, it was found that these vocabularies can be classified into five-word classes, namely, nouns, pronouns, verb, adjectives, adverbs, and determiners.

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Carter, M. G., and Jonathan Owens. "Early Arabic Grammatical Theory: Heterogeneity and Standardization." Journal of the American Oriental Society 114, no. 3 (July 1994): 472. http://dx.doi.org/10.2307/605098.

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Mathkour, Hassan I., Ameur A. Touir, and Waleed A. Al-Sanea. "Parsing Arabic Texts Using Rhetorical Structure Theory." Journal of Computer Science 4, no. 9 (September 1, 2008): 713–20. http://dx.doi.org/10.3844/jcssp.2008.713.720.

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Allen, Roger. "The Arabic Language in Theory and Practice." Middle East Studies Association Bulletin 34, no. 2 (2000): 197–99. http://dx.doi.org/10.1017/s0026318400040438.

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Kaye, Alan S. "Arabic grammatical theory in the middle ages." Historiographia Linguistica 16, no. 3 (January 1, 1989): 351–60. http://dx.doi.org/10.1075/hl.16.3.08kay.

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Journal articles on the topic 'Arabic theory of music'

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