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Lecture

Music Lecture #7 Wedding music in Middle East and Africa


Department
Music
Course Code
Music 1170A/B
Professor
Peter G Schultz

Page:
of 4
Wedding Music in Middle East/Africa
i.e. CD 4/22 Zaffa/h
-Zaffah: where is it practiced?
oWedding precession. Can take place before or after religious ceremony
oType of music that accompanies a wedding precession
o the music usually involves singing or chanting & some sort of rhythmic
accompaniment usually by a membranophone
usually some kind of frame drum. Dates back to well before
Mulism/Chrstianity was founded
(read the part of the Moroccan stuff in textbook)
Moroccan Zaffah musical style
-instrumentation:
omazhar
type of frame drum
large jungles on the side
very loud instrument used in weddings
played one handed (unlike the daff) very heavy. Need one hand to
support it and one hand to play
darker sound, in zaffah tradition men are singing chanting words
onafir
fat, nasal sound
used in war situations, weddings (loud instrument)
-zagareet
ovocal explanation/trilling done by women
-rhythm
olinear hemiola (wiki this)
-timbre
osharp contrast in timbre
ocontrast of using nafir with bright nasal sound vs. dark sound of men and
mazhar
functions of Zaffah
-wedding processions
-audio “proclamation”
oindoor or outdoors
-displays power
oshow power of the families involved (esp the family that hires the
dancers/musicians)
-identity
othe identity of families involve
oif you have guests from other countries
omight reinforce the Moroccan identity
omight underline the identity on a more personal level with the families
involved
-promote consummation of marriage
oto stimulate the bride and groom so they are in the mood for sex
wedding music: Palestine
-mijwiz
oareophone made of 2 pipes bound together
oinside each pipe is another pipe
oheld by both hands and played
ocircular breathing technique
-sounds of zaffah
omazhar, male voices, mijwiz, other instruments (takht ensemble)
initiation of ecstacy”
-words:
otypical subject matter, imagery, religious references
ovocables: syllable that has non-lexicle meaning (syllables that have no
meaning)
ousing the moon as a symbol of female and male beauty
Arabic Influence in Jewish Music
Music and identity
-one of the most common functions of music globally is shaping identity
-gender, nationality, race etc
odifferent music can call to different aspects of your identity
-transnational, national vs. ethnic identity
-diaspora and transnational identity
-ethnic identity being a member of a particular ethnic group, esp. belonging to a
national group by heritage or culture, but residing outside its national boundaries
-national identity national group living within its own national boundaries
(Germans living in Germany)
-transnational a reaching beyond/transcending national boundaries (arabs living
in Egypt)
yemini Jewish music and popular music in Isreal
-Yemini Jews (temanim) influenced by bth Arabic and jewish cultures
-Live in Yemen (south part of Arabian peninsula) until roughly 60 yrs ago
-Speak Arabic
-Aramaic
-A practice of using household items to play music (because music was banned)
Reception of Yemeni Jewish music
-reception in yemen
-periods of repression (started making use of homemade instruments)
-reception in Isreal
oMizrahi vs. Ashkenazi
oState-controlled media
oMany Mizrahi came with only the clothes on there back ended up in
slums.
There music was seen as foreign and exotic
Many rejected it because it sounded Arabic/sounded like there
enemies