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| Foreword | |
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| Preface | |
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| CD Track List | |
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| The Call to Prayer: A Communal Endeavor | |
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| The Enduring Tradition | |
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| Giving the Call to Prayer | |
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| A Community of Callers | |
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| Responses to the Call: An Interactive Phenomenon | |
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| Change | |
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| Mass-Mediated Broadcasts of the Call to Prayer | |
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| An Uneasy Juxtaposition | |
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| The Melodic Aspect of the Call to Prayer | |
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| The Eastern Arab Melodic Modes: The Maqamat | |
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| Melodic Texture | |
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| Arab Melodic Theory | |
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| The Scale System: Pitches and Intervals | |
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| Maqam Rast in Modern Arab Music Theory | |
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| Tetrachords | |
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| Transposition | |
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| Maqam Rast in Performance | |
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| Intonation | |
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| Accidentals | |
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| Melodic Leaps | |
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| Use of Multiple Upper Tetrachords | |
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| A Characteristic Progression through a Maqam's Defining Features | |
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| CD Track 33: A Taqasim by Ali Jihad Racy | |
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| A Region for Beginning the Performance of a Maqam | |
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| A Characteristic Manner of Progressing through the Rest of the Maqam | |
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| A Special Shape for the Islamic Call to Prayer | |
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| Modulation | |
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| Madh: A Genre of Sufi Religious Music | |
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| The Instruments in a Madh Ensemble | |
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| A Coffeehouse Context | |
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| A Sufi Zikr Context | |
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| Public Zikrs | |
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| Movement and Chanting at Zikr Rituals | |
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| A Weekly Zikr at the Mosque of Sidi 'Ali | |
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| Music in a Madh Cycle | |
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| Madh Mawwal Texts | |
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| Instrumental Passages | |
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| Features Shared among Many Eastern Arab Music Traditions | |
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| The Eastern Arab Rhythmic Modes | |
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| Skeletal Structures: Maqsum, Masmudi Saghir, and Sa'idi | |
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| Ornamenting the Rhythms in Performance | |
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| A Variety of Takk Sounds | |
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| Other Rhythms | |
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| Wahda and Zaffa | |
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| Malfuf and Sa'udi | |
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| Masmudi | |
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| Sama'i | |
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| Additional Region-Specific or Culture-Specific Rhythms | |
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| Changes Over Time | |
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| Upper Egyptian Folk Music for Weddings and Festivals: Mizmar Ensembles | |
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| A Mizmar Ensemble at an Upper Egyptian Wedding | |
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| The Ensemble | |
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| "Tipping" | |
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| The Repertoire | |
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| Solo Instrumental Improvisation | |
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| The Songs "Kan 'Andi Ghazal" and "Sama 'ti Yom Rannit Khulkhal" | |
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| Male Stick Dancing at Weddings | |
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| Sa'idi Mizmar at Saint's-Day Festivals | |
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| Male Stick Dancing at Saint's-Day Festivals | |
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| Sa'idi Mizmar / Tabl Baladi in Government Folk-Music Ensembles | |
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| "Gypsies"? A Shared Middle Eastern Tradition | |
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| Sa'idi Mizmar Music: Unique, Yet Partaking of a Shared Musical Tradition | |
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| Islam and Music: Is Music Haram? | |
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| The Highest Authorities: The Qur'an and the Hadith | |
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| Different Contexts/Different Rulers | |
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| Sufis: Developing the "Art of Listening" | |
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| The Sama' Polemic in Present-Day Cairo | |
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| Voices of Performers on the Accompanying CD | |
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| Other Voices in Present-Day Cairo | |
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| Maintaining a Separation between the Human and the Divine | |
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| Art Music of the Late-Nineteenth/Early-Twentieth Centuries: Takht Ensembles | |
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| From Takht to Firqa Ensembles | |
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| The Takht Ensemble | |
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| The Creation of a New Large Ensemble: The Firqa | |
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| The Takht Repertoire: The Wasla Suite Form | |
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| Reviving the Past | |
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| Creating a Takht Recording: CD Tracks 9-19 | |
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| The Items in Tracks 9-19 | |
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| The Improvisatory Genres: Taqasim, Layali, and Mawwal | |
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| Layali | |
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| Two Mawals | |
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| The Instrumental Dulab and Sama'i Genres | |
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| Two Precomposed Song Genres | |
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| The Taqtuqa "il-Bahr Nayim" | |
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| A Muwashshah | |
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| The Wasla as a Composite Sociocultural Entity | |
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| The Tarab Aesthetic | |
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| Art Music of the Mid-Twentieth Century: Umm Kulthum and the Long-Song Tradition | |
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| A New Superstar Emerges | |
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| The Development of New Mass Media | |
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| The New Ughniya (Long Song) Genre | |
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| Umm Kulthum's New Directions | |
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| Umm Kulthum's Ensemble | |
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| Other Famous Ughniya Singers | |
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| Performances Videoed and Then on Television | |
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| Umm Kulthum's Last Years | |
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| The Umm Kulthum Song, "Aruh Li Min," on CD Tracks 20-22 | |
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| The Hall, the Stage | |
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| The Instrumental Introduction (Muqaddima) | |
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| Umm Kulthum Begins to Sing: The Vocal Refrain | |
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| The Poetic Text | |
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| Maqam Rast | |
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| Zaffa (Wedding Procession) Music | |
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| A Zaffa Band's Performance at a Five-Star Hotel | |
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| The Creation of the New Dumyati Zaffa Ensemble | |
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| The Sharqiyya Mizmar | |
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| Three Categories of Zaffa Ensemble Members | |
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| The Unique Sharqiyya Mizmar Style of Playing | |
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| Zaffa Songs | |
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| Maqam Rast and a Variety of Rhythms | |
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| Beyond Zaffa Performances | |
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| A Sharqiyya Mizmar Player's Life Story | |
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| Present-Day Pop Music: Hakim and the Sha'bi and Shababi Genres | |
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| A Wedding Performance | |
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| A Typical Performance Schedule | |
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| The Band | |
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| The Sha'bi and Shababi Pop-Music Genres | |
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| Hakim's Rise to Fame | |
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| The Early Years | |
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| Muhammad 'Ali Street, a Historic Center for Musicians | |
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| Shameful, but Not Haram | |
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| Stardom | |
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| "Modern Sha'bi" | |
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| An International Vision | |
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| Controversy | |
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| Creating a Sha'bi Song | |
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| Adding a Sha'bi Feel to the Three Traditional Components | |
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| The Arranger, a New Fourth Component | |
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| "il-Kalam Da Kabir" (CD Track 26) | |
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| Continuity and Change | |
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| Afterword | |
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| Glossary | |
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| References | |
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| Resources | |
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| Index | |