Palestinian Arab Music

Preface
1. The Research Topic, Problems, Objectives, and the Tradition Studied
1.1. On Studying the Practice of an Oral Tradition
1.2. The Group and Its Tradition
2. The Performing Group
2.1. Theoretical Considerations
2.2. Variables That Affect Performance
2.3. A Brief Biographical Sketch of a Creative Performer
3. Pitch and the Maqamat
3.1. Intonation
3.2. Collections of Notes
3.3. The Functions of Important Notes
3.4. Melodic Intervals
3.5. Range
3.6. Motives
3.7. The Phrase Unit
3.8. Summary: A Comparison of the Maqamat by Pitch Factors
4. Rhythm and Structure
4.1. Duration
4.2. Density Tempo
4.3. Beat and Tempo
4.4. Meter
4.5. Form
4.6. Summary
5. Melisma and Style
5.1. On the Nature of Melismata
5.2. Studying Melismata: Methods, Examples, and Findings
5.3. Summary
6. The Text
6.1. General Characteristics of the Texts Examined
6.2. The Main Structural Components of the Text: Poetic Meter and Rhyme
6.3. Summary
7. Musicpoetic Frames
7.1. Theoretical Background
7.2. Findings
7.3. Summary
8. The Performer's Role in Shaping the Performance
8.1. The Effect of Types of Performers on Some Significant Musical Components
8.2. The Boundaries of Creativity in Folk Tradition: The Individual Performer
Summary
The Musical Components
The Framework of the Maqamat
The Connection with Extramusical Factors
The Methodological Model
Implications
Appendix 1. A Selection of Twenty-Eight Songs Representing the Repertoire
The Selection of Songs and Manner of Presentation
On the Transcription of the Music and Texts
Songs on the Compact Disc
Melographic Output for Songs 1, 4, and 10
Analysis of the Texts of Songs 2 and 13
Appendix 2. The Structure of the Traditional Village Wedding
Appendix 3. Research Questionnaires
Appendix 4. Poetic Structure as a Kind of Musical Regularity: A Comparison of Arabic Poetic Traditions, the Oral Palestinian, and the Written Medieval Spanish
Notes
Bibliography
Index