Music-Cultures of the Middle East: Ughniya

Ughniya: "Long-Song" Tradition/Genre

• Ughniya (اغنیه)

• Umm Kulthum (1904-1975)

Ughniya: Key Aspects

• Origin and Development:

  • Developed from Taqtuqa.

• Comparison to Wasla:

  • Structure

  • Segments

  • Composition/Improvisation

  • Composers

  • Origins

  • Text

  • Ensemble (Takht to Firqa)

  • Texture

  • Use of Notation

  • Clothing

  • Conductor

Ughniya: The "Long Song" Genre

• Ughniya (literally “song”) (غنیه ٌ ا)

• Developed in the 1930s.

• Popularized by Umm Kulthum (UK).

• Composers: Riyad al-Sunbati & Zakariyya Ahmad.

• Umm Kulthum's Music:

  • Considered "Art music."

  • Popular music embraced by the masses.

Development of Ughniya from Taqtuqa to Wasla

• Scholarly Perspective:

  • Evolved from the Taqtuqa song genre.

  • Reminder: Arab songs start & end with a Refrain

• Evolution:

  • Gradually resembled the "Wasla" form of Takht ensemble.

Stages of Development

• Stage 1: Refrain and verses share the same melody.

• Stage 2: Refrain and verses have two distinct melodies.

• Stage 3: Refrain has one melody, verses each set to a different melody.

  • This becomes part of the new “long-song” tradition.

• Stage 4: Introduction of "Muqaddima"

  • “Muqaddima” (instrumental introduction) takes the place of Dulab or Sama’i (from Wasla).

  • The instrumental intro appears in full or partially before each verse.

• Stage 5: Incomplete Return to Refrain

  • Returns to refrain are not complete, just the last phrase or concluding cadence (qafla).

• Stage 6: Longer Instrumental Intros

  • Instrumental intros become independently performed pieces, resembling the variety of instrumental compositions in Wasla.

Ughniya vs. Wasla: Differences

• Ughniya as One Long Song:

  • Ughniya is a single, extended song.

• Wasla's Structure:

  • Wasla includes several songs and other vocal & instrumental musical items.

• Variety in Origins and Composers:

  • Ughniya is typically the work of one composer from one origin.

  • Everything is composed (even sections that sound improvisatory).

• Flexibility in Ughniya:

  • Some "improvisation" is present through repetitions, ornamentations, and adding mawwal-like segments.

• Ensemble Change:

  • Ughniya ensemble evolves from Takht to Firqa.

Takht to Firqa: Ensemble Changes

• Firqa Ensemble:

  • Many extra instruments (especially strings), including electric guitar, saxophone, keyboard, and accordion.

• Texture:

  • Desire towards monophonic texture.

  • Heterophony is acceptable for small ensembles, less so for larger ones.

• Notation:

  • 1960s-70s: Use of Western staff-notation for learning & performing.

• Presentation:

  • Conductor and formal Western concert attire.

  • Performance in concert halls.

Ughniya Example: "Aruh Li Min" (Whom Should I Go To?)

• Composer: Riyad is-Sunbati

• Poem: ‘Abd al-Mun’im is-Siba’i

• Year: 1958 (recording)

• Consists of 3 verses

• Components:

  • Muqaddima (instrumental intro) & Vocal Refrain

• Analysis:

  • General analysis

  • Detailed analysis

• Recordings:

  • Egypt CD:20, 21, 22 (excerpt of performance)

  • Translation of song: p. 132

General Analysis of "Aruh Li Min"

• Muqaddima:

  • Egypt CD:20 (1958) - middle period example of muqqadima, short, but having 3 distinct sections (p.121) (section analysis p.133)

    • Variety of material

    • Includes features from Wasla such as Taqasim

    • Taqasim at this stage: composed no longer improvisatory:

      • Qanun solo from 0:55

Vocal Refrain Analysis

*Egypt CD:21,22
*UK free to repeat phrases to evoke music’s meanings and moods, bases her next step according to audience’s response (is this “improvisation”?)
*translation of lyrics: http://lyricstranslate.com/en/arooh-lemeen-who-could-i-go.html
*Followed by last section of Muqaddima
*Tarab (ecstatic state/enchantment) still important

Detailed Analysis

*Egypt CD 20 Muqaddima (Istrumental Introduction):
*Ensemble irregular rhythm, pre-composed instrumental ensemble section, rubato openings normal in muqaddima (evoking taqasim that used to start Wasla performances)
*Solo irregular rhythm, pre-composed instrumental solo (imitating improvised taqasim of past)
*Ensemble regular rhythm, pre-composed with percussion
*Ending muqaddima by repeating a phrase over and over again until singer ready to sing…
*Egypt CD 21-22 UK sings Vocal Refrain (p.132 trans.)
*Instrumental responses to each of UK’s phrases: (separating phrases: “lazimas” crucial part of aesthetics)
*Activity 8.1 pp.133-135, CD:20-22 follow chart
*Complete performance of song: https://www.youtube.com/watch?v=QChA3_RybMY (..around 4:27 UK gets up to sing refrain…..new verse begins at about 10:58 after 3rd section of the instrumental introduction) (about 43 minutes!!! Around 24:12 goes to new verse…)
*translation of lyrics: http://lyricstranslate.com/en/arooh-lemeen-who-could-i-go.html