In Zajal music, there are multiple different instruments including the voice. The chorus of men and women who recite the verses of poetry back are known as the Reddadi. There are two main instruments used in zajal music. The derbake is a percussion instrument of Arabic origin used throughout the Middle East. This instruments’ base is made of wood or metal generally and has a patch of goat leather strung across the top. In order to use this instrument, it is placed between the thighs or under the arm and it is struck with the palm or fingers of the player. It is similar to what Americans know as a drum. The daf is also generally present in Zajal music. A daf is a large framed drum made from hardwood strung with goatskin that is attached with
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This includes life, love, longing, death, politics and daily events. Zajal music evokes the beauty of Lebanon. This genre promotes the right to difference, dialogue between religions and communities and the importance of tolerance. This type of music is largely informal throughout families, however, non-governmental organizations and troupes are also actively involved in its practice and recreation. The community and the religious community all benefit and thrive due to zajal music. This is why the genre still continues to flourish today. Its poetic battles, serving as a safety regulator and playing an important role in resolving conflicts and strengthening social …show more content…
There are multiple convincing reasons as to why both modern critics, as well as medieval scholars, consider these two musical genres “sister-genres”. One reason this is thought to be true is that both of these genres are very closely related in structure as well as both being in strophic form. They also both have elements of vernacular transcription. Zajal poetry also frequently has passages that are quoted almost directly from muwaššaḥa poetry. This is also seen the other way around. However, muwaššaḥa music often contains just five strophes, while zajals are usually much longer. Another difference between the two genres is the fact that about 33% of muwaššaḥas lack a refrain in them.
The question is raised as to whether or not zajal was created in direct correlation to muwaššaḥa. This is thought to be a very plausible possibility, because zajal text did not surface until roughly two centuries after the creation of muwaššaḥa music. It is said that muwaššaḥa was invented towards the end of the ninth century by Muhammad ibn Maḥmūd. With that being said, it is not until the eleventh century that there is surviving text of this genre. The earliest text that is found was composed by Ubāda ibn Mā’ al-Samā. Almost two centuries later, it was discovered that zajal had
This includes life, love, longing, death, politics and daily events. Zajal music evokes the beauty of Lebanon. This genre promotes the right to difference, dialogue between religions and communities and the importance of tolerance. This type of music is largely informal throughout families, however, non-governmental organizations and troupes are also actively involved in its practice and recreation. The community and the religious community all benefit and thrive due to zajal music. This is why the genre still continues to flourish today. Its poetic battles, serving as a safety regulator and playing an important role in resolving conflicts and strengthening social …show more content…
There are multiple convincing reasons as to why both modern critics, as well as medieval scholars, consider these two musical genres “sister-genres”. One reason this is thought to be true is that both of these genres are very closely related in structure as well as both being in strophic form. They also both have elements of vernacular transcription. Zajal poetry also frequently has passages that are quoted almost directly from muwaššaḥa poetry. This is also seen the other way around. However, muwaššaḥa music often contains just five strophes, while zajals are usually much longer. Another difference between the two genres is the fact that about 33% of muwaššaḥas lack a refrain in them.
The question is raised as to whether or not zajal was created in direct correlation to muwaššaḥa. This is thought to be a very plausible possibility, because zajal text did not surface until roughly two centuries after the creation of muwaššaḥa music. It is said that muwaššaḥa was invented towards the end of the ninth century by Muhammad ibn Maḥmūd. With that being said, it is not until the eleventh century that there is surviving text of this genre. The earliest text that is found was composed by Ubāda ibn Mā’ al-Samā. Almost two centuries later, it was discovered that zajal had