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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 | |