AmbroseBierce
10-03-2006, 01:51
I just found an interesting quote on schools of oud playing:
There are two schools or conceptions of performance. The first, or ‘Ottoman’, takes as its principle the ornamentation of the sound, produced by delicate glissandos of the fingers and slight vibratos. The touch of the plectrum on the string sets off a vibration which, in turn, gives rise to an effect of resonance, volume and controlled intensity. The plectrum does not interfere with the resulting sound. This produces an intimate style of playing, making the interiorized ‘ud a path to meditation. This approach was first promoted in Istanbul by Ali Rifat Çagatay (1867–1935) and Nevres Bey (1873–1937), then by Refik Tal’at Alpman (1894–1947) and Cinuçen Tanrikorur (b 1938). It spread to Aleppo (Nash’at Bey, d c1930, and ‘Abd al-Rahman Jabaqji, b 1931), then was developed in Baghdad by salman Shukur (b 1921), jamil Bashir (1921–77) and munir Bashir (1930–1997).
The second aesthetic approach is Egyptian. The volume is amplified by firm strokes of the plectrum, which makes the strings resonate. This calls for virtuosity in performance, which is conceived of as an exteriorizing factor. The finest proponents of this school have been Safar ‘Ali (1884–1962), Muhammad al-Qasbji (1898–1966) and farid Al-Atrash (1915–74), who, despite his melodramatic style, breathed a new vitality into the instrument. A synthesis of these two styles is taking place in Somalia, where the manner of performance combines extensive glissandos with the sonorous impact of the plectrum; the outstanding proponents of this style are Abdullahi Qarshe and ‘Umar Dhule. (http://www.cacac.org/arabic_music_instruments.htm)
I wonder if anyone around here has any music of the above mentioned Abdullahi Qarshe and ‘Umar Dhule.
There are two schools or conceptions of performance. The first, or ‘Ottoman’, takes as its principle the ornamentation of the sound, produced by delicate glissandos of the fingers and slight vibratos. The touch of the plectrum on the string sets off a vibration which, in turn, gives rise to an effect of resonance, volume and controlled intensity. The plectrum does not interfere with the resulting sound. This produces an intimate style of playing, making the interiorized ‘ud a path to meditation. This approach was first promoted in Istanbul by Ali Rifat Çagatay (1867–1935) and Nevres Bey (1873–1937), then by Refik Tal’at Alpman (1894–1947) and Cinuçen Tanrikorur (b 1938). It spread to Aleppo (Nash’at Bey, d c1930, and ‘Abd al-Rahman Jabaqji, b 1931), then was developed in Baghdad by salman Shukur (b 1921), jamil Bashir (1921–77) and munir Bashir (1930–1997).
The second aesthetic approach is Egyptian. The volume is amplified by firm strokes of the plectrum, which makes the strings resonate. This calls for virtuosity in performance, which is conceived of as an exteriorizing factor. The finest proponents of this school have been Safar ‘Ali (1884–1962), Muhammad al-Qasbji (1898–1966) and farid Al-Atrash (1915–74), who, despite his melodramatic style, breathed a new vitality into the instrument. A synthesis of these two styles is taking place in Somalia, where the manner of performance combines extensive glissandos with the sonorous impact of the plectrum; the outstanding proponents of this style are Abdullahi Qarshe and ‘Umar Dhule. (http://www.cacac.org/arabic_music_instruments.htm)
I wonder if anyone around here has any music of the above mentioned Abdullahi Qarshe and ‘Umar Dhule.