Arabic music

This article uses Spain's participation at the Cairo Congress of Arab Music (1932) as the basis to raise questions pertaining to the place of Arab music in the racial imagination of Europeans. It argues that Spain's unique response to the challenges arising from the study of Arab music in a context of colonial rivalry reveals still uncharted tensions and fractures running through musicology and Orientalist discourse at the time. My line of inquiry sheds light on the origins and characteristics of the forms of self-reflexivity evident in the musicological work produced by Spain and other European countries. In what ways did the shifting tectonics of North African politics impact or even impair the capacity of European musicological discourse to inscribe Arab music in the global imagination in ways supportive of Europe's identity projects? To what extent was the discourse on Arab music emerging in the context of colonial rivalry suitable for Spain to rewrite the memories of its past of anti-Muslim violence? What could Spain's unique position as both an insider and an outsider relative to notions of Europe reveal about western attitudes towards Arab music in a context of colonial rivalry? The answers to these questions lie not only with the peculiar ways in which Spain addressed its identity crises, but also with the extent to which the Cairo Congress exposed the inadequacy of reigning paradigms in musicology, anthropology and the social sciences, and underscored their inability to keep up with the changing face of North African societies.

Occupy Oud the forefront among the Arab musical instruments since ancient times, its methods of playing on Oud was developed during the twentieth century, which led to the appearance of new technologies in the way of performance, it was covered by most of the musical modern schools on Oud, and There is no doubt that the West was the first in putting educational curricula for teaching various musical instruments modes, has a number of interested in coming up with a new curriculum for teaching this instrument in the Arab world, but it was difficult to apply in the Arab country, because of the difference in capabilities between learners. Due to the lack of a clear methodology for teaching beginners students playing the Oud in the Department of Music / Yarmouk University, this study came in order to identify the difficulties faced by beginner students in playing the Oud, and the development of exercises proposed to overcome these difficulties with these students.

Los estudios sobre música y trance se han caracterizado por trabajos comparativos, examinaciones basadas en las bases psicológicas, fisiológicas y médicas del fenómeno y luego un dominio de investigaciones etnográficas de tradiciones particulares. El presente trabajo revisa la aplicabilidad de las teorías formuladas por el etnomusicólogo Gilbert Rouget (1980) sobre las relaciones entre la música y la posesión en la actividad ritual de las M’almat –hermandad femenina de la ciudad de Meknés, Marruecos- y el papel de la música en estas ceremonias. Para alcanzar este objetivo, se identifican algunos de los procedimientos de producción musical utilizados por los músicos hamadcha y gnawa (cofradías religiosas marroquíes) participantes en los ritos a través de la visualización paradigmática y del análisis de la performance. Además del uso generalizado del accelerando y crescendo en los momentos en que los poseídos manifiestan mayor agitación, se observa otro procedimiento recurrente consistente en el aumento de las repeticiones de segmentos melódicos cada vez más breves. Los tres elementos mencionados podrían provocar la hiperestimulación sensorial contribuyendo a la generación del trance. Este mecanismo no es entendido aisladamente, si no puesto en relación con los otros elementos perceptuales y culturales presentes en el rito: colores, fragancias, invocaciones, danza, entre otros.

Özet Duygularla yoğrulmuş insan fıtratına hitap ederek onu kendine cezbeden pek çok unsur varlık âlemini süslemektedir. Kimi zaman bu unsurlar bazı nesnelerde yoğunlaşmaktadır. Bir gülde, güzel görünüm ve hoş koku bir arada ahenkle duyguları cezbederken bir bülbülde ise ses güzelliği öne çıkmaktadır. Yaratıcı adeta varlık üzerine kendi cemalinin tecellilerini farklı renk ve tonlarda serpiştirmiştir. Bu güzelliklerden biri de şüphesiz sesler üzerinde tezahür etmektedir. İnsanın duygularını belki de en hızlı taraba getiren güzel nağmelerdir. Sesler âleminde serpiştirilmiş güzelliği en berrak bir şekilde yansıtabilme melekesine musiki denilmektedir. Bu makale son yıllarda özellikle Körfez Arap ülkelerinde revaç bulan folklorik "şeyle" müziklerinin tanıtımını yapacaktır. Şeyleler Arap şiirlerinin nağmeli ancak enstrüman olmadan söylenmiş halidir. Dinleyici psikolojisi üzerinde dinlendirici etkisi ve çoğu zaman hareketli temposu ile özellikle genç kesimler tarafından ilgiyle dinlenmektedir. Giriş kısmında bu tür parçalara gösterilen ilginin "sade" olduğu düşüncesine değinilecektir. Sonrasında şeylelerin müzikal özellikleri hakkında bilgi verilecek ve şeylelerin ortaya çıkışını hazırlayan muhtemel etkenler ele alınacaktır. Çalışmada sıklıkla video paylaşım sitelerinde yayımlanan şeyle örneklerine atıfta bulunulacaktır.
Anahtar Kelimeler: Arap Dili ve Belâgatı, Folklor, Müzik, Şeyle, Körfez. Abstract Many elements that attract him to you by addressing the human made by emotions, adorns the universe of beings. Sometimes these elements are concentrated on some objects. In a rose, beautiful appearance and pleasant fragrance attract the feelings of harmony together, while in a nightingale the sound beauty stands out. The creature has sprinkled its manifestations on the existence in different colors and tones. One of these beauties is undoubtedly manifested on the voices. Perhaps the most beautiful way of bringing the emotions of the person to the fastest. It is called the music of the angel of being able to reflect the beauty in the clearest way. This article will introduce the folkloric music that is popular in the Gulf Arab countries in recent years. Shalas are the words of Arabic poems, but not without instruments. With its

تقدم هذه الورقة نظاما حاسوبيا قادرا على تحليل واستخلاص خصائص الموسيقى العربية لالة الناي العربي بهدف أتمتة التدوين الموسيقي لها. وقد تم استخدم الناي كنموذج لاجراء هذا البحث بهدف تمكين المهتمين في مجال الموسيقى من تحليل واستخلاص النغمات الموسيقية لآلة الناي وتدوينها حاسوبيا. وجدير بالإشارة هنا بان أتمتة التدوين الموسيقي لآلة الناي هو الأكثر صعوبة مقارنة بالآلات الغربية والآلات العربية الأخرى. ويعود السبب في ذلك إلى اختلاف الموسيقى العربية عن نظيرتها الغربية بالأبعاد الموسيقية (Musical intervals)، حيث يعد نصف البعد (Semitone) هو أقل مسافة لحنية ممكنة بين نغمتين في الموسيقى الغربية مقارنة بربع البعد (Quarter tone) في الموسيقى العربية. وكذلك تعتبر عملية التدوين الموسيقي لآلة الناي أكثر صعوبة مقارنة بالآلات العربية الأخرى لكونها بسيطة التركيب وبالتالي فإنها أكثر عرضة لانحراف الضبط المصنعي (Tune deviation).  وتختلف آلة الناي  عن آلات التخت العربي الأخرى بعدم القدرة على تحديد بداية النغمة اعتمادا على تغير شدة الصوت. تم تصميم وبناء نموذج لنظام التدوين الحاسوبي لآلة الناي وتم اختبار كفاءته عمليا من خلال استخدام مخرج النظام وهو ملف ميدي (MIDI File) كمدخل لنظام سيبليوس(Sibelius). وقد بينت نتائج الاختبارات العملية بان النظام المقترح يعمل بدقة تزيد عن 90%.

David Muallem’s Maqam Book is the first systematic presentation of the system of scales and modes (maqamat) used in Arab music, and is intended for musicians of all backgrounds, as well as for the layman who seeks to understand and appreciate Arab music. The book includes a historical background, an explanation of the scalar systems used in European music and Arab music (with references to Turkish music and Persian music), and an analysis of 48 different maqamat, their transpositions and modulations. The attached CD (as of Nov. 17, 2016 replaced by online audio tracks) demonstrates 39 maqamat played on the qanun. The book is recommended as a textbook for courses on Arab music, Middle-Eastern and Asian music, and world music, and may be used for self-study as well.

This study discusses Arabian modes (Maqamat) in contemporary Arabian songs. This is done through two-stage analysis of a random sample of these songs broadcasted in common Arabian music space channels. The first stage analyzes each song separately, extracts its main features, and inserts them in schedules categorized by modes. The second phase is a statistical analysis tackles, in each time, modes and another feature of the songs. Then these results are presented in tables. The analysis is followed by discussing possible reasons led to obtained results, and concluding the overall image of the contemporary Arabian song.

An approach to the culture and aesthetic values behind musical creation in the Arab world, focusing on the concept of Tarab. There is no word in any western language that renders this term, nor is there any similar concept in western aesthetics. The word “Tarab” is used in arabic to describe the emotional effects of music. The term is also associated with a form of traditional arabic music that previously to the First World War was played in the Eastern Mediterranean region and is directly linked to the evocative emotions it elicits.

Western music is characterized by the use of harmony that enriches the melody, which was written for orchestra, some instruments, or choir through different styles of harmonic accompaniments and chord functions. While Arabic music is characterized by the rich melody, which depends on a great number of Oriental Modes without relying on Harmony, which was written in a monophonic style. Many of the Arab composers managed the integrate of their melodic ideas that based on Oriental Modes with harmony through their experience and their serious attempts. Moreover, they relied heavily on the taste without relying on scientific literature of Arabic harmony, because of its unavailability. Through this research, the researcher tries to contribute and develop those experiences through detailed analysis of all the Arabs Modes, which are free of three-quarters intervals, and to build a harmonic structure on all degrees, in order to get out a scientific study of harmony. This will open the gate for the development of the Arabic harmonic theories that provide the structure of harmonic voices, which will serve the character of Arabic music away from tradition. The researcher also considers this research as a step in the direction of creating the practical harmony just as the study of western music harmony, which relies on correct chord progressions.
تتميز الموسيقى الغربية باستخدام علوم الهارموني التي تثري اللحن الذي يتم توزيعه للأوركسترا أو لمجموعة من الآلات أو الكورال من خلال اساليب المصاحبات الهارمونية المختلفة Homophonic بينما تتميز الموسيقى العربية بثراء اللحن الذي يعتمد على كم كبير من المقامات العربية دون الإعتماد على علوم الهارموني ، حيث تعتمد على الصوت الواحد Monophonic ، استطاع العديد من المؤلفين العرب دمج أفكارهم اللحنية المبنية على المقامات العربية مع علوم الهارموني من خلال خبرتهم بتلك العلوم ومحاولاتهم الجادة ، ولكنها اعتمدت بدرجة كبيرة على الذوق والتذوق دون الإعتماد على المراجع العلمية لعلوم الهارموني العربي لعدم توفرها ، يحاول الباحث في هذا البحث المساهمة في بلورة تلك التجارب من خلال التحليل التفصيلي لجميع المقامات العربية الخالية من ثلاث أرباع البعد ، والبناء الهارموني على جميع تلك الدرجات بهدف الخروج بدراسة علمية تفتح المجال لوضع نظريات للهارموني العربي الذي من شأنه تقديم أصوات هارمونية تخدم الهوية العربية بعيداً عن التقليد .

Méthode d’éducation musicale levantine scolaire
L’idée de la mise en place d’une méthode d’éducation musicale levantine scolaire démarre d’un état musical scolaire qui, par l’usage de méthodes privilégiant l’enseignement musical occidental, marginalise les traditions musicales locales.
Cette méthode vise particulièrement à aider l’enfant libanais à retrouver son identité musicale, et ce, à travers des activités compatibles avec le développement de ses facultés et compétences musicales, et avec la facilité de l’apprentissage oral, loin des rudiments de la lecture et de l’écriture musicales.
Quant au contenu, il consiste à remplacer le média scriptural par les moyens audio-visuels informatiques, et ce, sans que l’élève n’ait recours à un livre. Il englobe de fait des chansons, des jeux instrumentaux, des danses rythmiques, des exercices de concentration auditive et des découvertes d’instruments de musique, dispensés dans des séances hebdomadaires variées se prolongeant sur trois mois de l’année scolaire.
Ce premier volume s’adresse au premier cycle scolaire (6-8 ans), sachant que les volumes suivants seront publiés dans les années à venir.
Ce livre est composé de 312 pages.

منهج في التربية الموسيقيّة المشرقيّة المدرسيّة
أوّل منهج في التّربية الموسيقيّة المشرقيّة المدرسيّة، تمّ وضعه في لبنان على يديّ الدّكتورة بشرى بشعلاني والدّكتور هيّاف ياسين، سنة 2014 - لبنان - منشورات الجامعة الأنطونيّة، وهو مختصّ بالحلقة الأولى من التّعليم الأساسيّ.
تنطلق فكرة تأليف منهج في التّربية الموسيقيّة المشرقيّة المدرسيّة من واقع موسيقيّ مدرسيّ مهمِّش للتقاليد الموسيقيّة المحليّة بارتكاز مناهجه على تعليم الموسيقى الغربيّة دون سواها.
كما يهدف المنهج تحديدًا إلى مساعدة الطّفل اللّبنانيّ على استعادة هويّته الموسيقيّة، وذلك من خلال نشاطات تنسجم مع تطوّر ملكاته وكفاياته الموسيقيّة، ومع سهولة تعلّمه بالمشافهة، بعيدًا عن القراءة والكتابة الموسيقيّتين.
أمّا المضمون فيعتمد على استبدال وسيط التّدوين الموسيقيّ بالوسائط المرئيّة السّمعيّة المعلوماتيّة، دون حاجة التّلميذ لكتاب. ويشمل الغناء والعزف والرقص الإيقاعيّ والتّمارين الإصغائيّة والتّعرّف على الآلات الموسيقيّة، ضمن حصص أسبوعيّة متنوّعة تمتدّ على ثلاثة أشهر من العام الدّراسيّ.
ويتوجّه هذا الجزء الأوّل من المنهج إلى الحلقة المدرسيّة الأولى (6-8 سنوات)، على أن تصدر الأجزاء الأخرى تباعًا في السّنوات القادمة.
عدد صفحاته الإجماليّة هو 312 صفحة.

Palestinian hip hop emerged when three Arab-­Israeli Palestinian hip hop rappers began rapping using the Arabic language for the first time, in a country of predominantly Hebrew speakers. Tamer Nafar, alongside his younger brother Suheil Nafar, and their friend Mahmoud Jreri, formed the first Arab rap group, DAM (Da Arabian MCs) in 1999 (Lovatt 2011: 14). Based in Al--Llyd, also known as Lod, a mixed city of Arab and Israeli citizens, DAM were inspired by American rap to speak against years of oppression, inequality and social injustice. Palestinian hip-­hop can be situated within a longer history of hip hop music, originating from the United States. The hip hop movement can be traced back to 1979, when studio recorded hip hop music was first created for circulation beyond the underground (Watkins 2006: 10). Rappers from the Bronx identified hip hop’s commercial potential and became pioneers of the hip-­ hop movement that “would make it a cultural and economic juggernaut” (Watkins 2006: 10). The relationship between music and resistance has been fundamental to cultural studies especially in the case of Palestinian popular culture.

This paper seeks to explore hip hop as a specific area of cultural production that disseminated the idea of resistance in the Palestinian context. Using key theories surrounding culture and resistance, songs from two artists with similar expressions will be analysed, focusing on a politically charged cultural form in the Palestinian community: hip hop music.

Occupy Oud the forefront among the Arab musical instruments since ancient times, its methods of playing on Oud was developed during the twentieth century, which led to the appearance of new technologies in the way of performance, it was covered by most of the musical modern schools on Oud, and There is no doubt that the West was the first in putting educational curricula for teaching various musical instruments modes, has a number of interested in coming up with a new curriculum for teaching this instrument in the Arab world, but it was difficult to apply in the Arab country, because of the difference in capabilities between learners. Due to the lack of a clear methodology for teaching beginners students playing the Oud in the Department of Music / Yarmouk University, this study came in order to identify the difficulties faced by beginner students in playing the Oud, and the development of exercises proposed to overcome these difficulties with these students.

This essay introduces the Arabic lexical field in German rap lyrics. The topic is understudied in the German scholarly literature and there are only a handful of articles that explore Arabic influences in urban German. Hip-hop music spread from the United States to France and Germany in the mid-1980s and has become a behemoth of their respective music industries since the mid-1990s. In Germany, the descendants of Arabic-speaking or Muslim immigrants (i.e. Turkish, Bosnian, Iranian, etc.), have become a significant presence in the genre over the last two decades. Arabic lexical influences are increasing. The Arabic lexicon in German rap lyrics can be divided into the religious, the everyday standard, and Arabic slang based on the semantic fields displayed in rap texts themselves. In order to illustrate Arabic borrowings in German rap, I propose two approaches. First, a rap text by Alpa Gun and PA Sports illustrates some of the ways that rappers make use of the Arabic Islamic lexical semantic field. Second, a selection of Arabic borrowings in their sentential context as found on a sampling of German rap albums that date from 2008-2015 will provide a broad perspective. The Arabic component of German rap lyrics reflects hip-hop's multicultural, multi-faith, and multi-ethnic identities. The Arabic and multilingual influences in German hip hop show that hip-hop is a movement built upon cooperative—rather than conflicting—interaction in contemporary German society.

During the 1930s, Egyptian and Lebanese composers began to incorporate the piano into their works. Because the piano also brought equal temperament, which is distinctly different than the tuning system used in Arab folk music, this new instrumental combination made a deep impact on the musical structure itself. The story of how the piano was introduced to the Arab World, however, is not well known.
In this dissertation, I discuss the introduction of the piano (and consequently of equal temperament) into Egyptian and Lebanese Arabic music of the 1930s–60s. I also compare Western and Arabic music theory and explore how the piano influenced the composition of Arabic music. The study is in two parts: 1) an analysis of Egyptian and Lebanese music from 1930–60 that features the piano alongside traditional Arabic instrumentalists and vocalists, and 2) a biographical study of musicians that that brought Western elements into Arabic music.
The fusion techniques developed during the period 1930–60 continue to inform compositions created by Arab musicians in the United States and elsewhere. In the
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fourth chapter, I provide an overview of Arabic music in the United States in the 21st century .
My research concludes with an original composition entitled Memories of Homs, for Arabic ensemble and piano. The last chapter is an analysis of this work. This topic is especially meaningful for two reasons: the piano is a dominant element in my musical career, and my Syrian heritage continues to shape my overall musical experience.

This dissertation has three main aims: firstly, to explore how Egyptian culture and society have been shaped and redefined over time and the influence this has had on Egyptian music; secondly, to analyse the impact of globalisation on Egyptian music and the vital role it played in developing Egyptian music genres in existence today; thirdly, to explore the survival of authenticity in relation to Egyptian culture, society and music, and question whether it has been compromised by globalisation.

Shanab argues that globalisation is a process that has existed for centuries and plays an important role in the natural progression of culture, and music.

La Société Nouvelle Librairie Orientaliste Paul Geuthner y L'Institut du Monde Arabe, junto con la participación del Centre National du Livre, publicaron en 2001 la reimpresión de la obra en seis volúmenes La musique arabe, de Rodolphe d'Erlanger. La edición y prólogo de la misma corrieron a cargo de Christian Poché, eminente crítico y estudioso de la cultura árabe.

Se trata de una obra de gran envergadura. Con ella su autor, el barón Rodolphe d'Erlanger, persiguió, más allá de la pura erudición, contribuir al renacimiento de la música árabe y de su estudio. Este interés tuvo su resultado más notable en la celebración del congreso árabe de El Cairo en 1932 –año del propio fallecimiento del autor–, siendo él a quien se ha señalado como uno de los principales promotores del evento. Este congreso junto con el de Fez (1939)  –dedicado especialmente a la música de tradición andalusí–magrebí–, constituyeron dos hitos fundamentales en la toma de conciencia internacional sobre la importancia del patrimonio musical árabe.

Feature article about the folk music traditions of Saudi Arabia. Appeared in the March/April 2007 edition of Saudi Aramco World Magazine. The photographs are by Nicole LeCorgne. https://archive.aramcoworld.com/issue/200702/saudi.folk.music.alive.and.well.htm

This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (scholarly and popular) when the musicians come from different traditions and institutions? Can musicians pursue the legacy—and legitimacy—of classical repertoires or do they necessarily have to embrace Arabic pop culture? Finally, (3) while they were part of the elite in their home countries, how are Arab musicians considered outside their musical institutions, in their new countries such as France and the United States? Have they remained elite musicians in the eyes of their new audiences? Or have they simply become ‘popular’ musicians, regardless of the repertoire they play?

The Medi­ter­ra­nean is a sea that has expe­ri­enced extra­or­di­nary contacts, conf­licts, enco­un­ters and exchanges through the centu­ries. This comple­xity is analysed in the present volume through the eyes of twelve scho­lars specia­lised in Middle Eastern and North African studies.
Arabic and Semitic lingu­istics and dialec­to­logy, Arab lite­ra­ture and popular music and culture are some of the broad range of subjects included in this volume which engages diffe­rent geogra­phical areas of the so-called Mare Nostrum and various histo­rical periods, from the medieval to the contem­porary era.

The current practice of the Iraqi maqām (Ar. maqām al-ʿirāqī), the urban art song of Iraq, is a historical product of the lived experiences of its performers, who have been accumulating its components and implementing their aesthetic principles in a genealogical format since at least the 10th century AH (17th century AD). In this article,
I survey recent Iraqi historiographical literature to reveal the ways in which Iraqi scholars conceive of the Iraqi maqām tradition and its transmission. By analyzing a selection of performances, I argue that the Iraqi maqām is best understood as a cumulative and iterative tradition in process rather than in progress.

Here I examine the music and discourse of two Swedish non-Jewish chamber klezmer bands, and their strategies for claiming klezmer and distancing it from Jews. One band claims that klezmer, having always been subject to travel and outside influence, was never really Jewish. The other suggests that klezmer was inherited by European non-Jews after the Holocaust. Both arguments are predicated on the Herderian nationalist denial of cultural ownership to landless peoples. I argue that these claims are ultimately about allowing Swedes to mitigate their anxieties concerning Middle-Eastern immigration, by granting them possession of a safely domesticated form of Easternness.

This article (book chapter) explores major the most complicated instrument of the maqām tradition with a fixed supply of pitches, the qānūn plays a central role in the definition of the Near-Eastern tuning system. Originally this instrument had to be retuned separately for every scale structure, comparably to the Iranian santur. During the first half of the 20th century, mandal-s, movable levers, were applied to every course of strings with which the intonation can be adjusted during performance. These small metal bridges, however, have also caused confusion between theory and practice because they are tuned, on all common models, upon the tempered twelve-note scale that has little in common with pure Pythagorean and harmonic intervals as they are described in the traditional treatises. The study provides a brief account, containing four existing systems invented during the 20th century.

Mediterranean Periplus – voyages in time and space, around and beyond the sea of civilizations: we follow the movements of peoples, goods, ideas and cultural patterns in our historical space, underlying that exchange was the determining factor in the development of civilizations; therefore, the latter constitute a common heritage of the Mediterranean peoples.

This work focuses on eight case studies of amateur musicians, students of music, and professional musicians in Amman, Jordan. It discusses questions such as: How does Westernization affect the musical background and pedagogical practices of contemporary Ammani musicians? What are the intersections of musical background and musical pedagogical practice?

The harp is one of the oldest instruments, journeying from African origins while also developing indigenously in many cultures due to its connection to the bow and arrow and other everyday objects. Its long history means many effective and expressive approaches to harp composition exist. However, most are unknown in today's art music world.
As Western classical music rose to prominence (for reasons ranging from artistic to political to geographical), non-pedal harps faded from the spotlight. Conventions like writing for harp as a keyboard instrument solidified, plus the harp's footprint shrunk to a private, feminine salon realm, decreasing its scope on all levels.
This paper gathers harp composition techniques from around the world and throughout time into a treasury for modern composers to use. Organized chronologically and by region, the methodology involved revisiting classical lyres and a wide array of African harps; Middle Eastern angular harps and their offshoots such as the kanun; Asian harps such as Burmese harp, the guzheng and modern konghou; Latin American harps of many kinds; historical and so-called folk European harps; and modern innovations such as electric harp and use of materials such as carbon.
Discoveries were made and documented regarding these main areas:

1. Physical techniques and gestures

2. Alternative Scales/Modes/Maqamat/Ragas

3. Alternative Temperaments

4. Rhythms and Cycles

5. Ornamentation and Phrasing

6. Textures

7. Forms

8. Role

9. High-level concepts such as spiritual orientations, working with the seasons

10. Accessories such as plectra and other tools

11. Employing non-traditional materials such as carbon and electrification

As Leopold Stokowski said, the harp is in many ways the least understood instrument. By reclaiming time-honored harp techniques worldwide and using them on our modern lever and pedal harps in composition and performance, we access the true potential of this magical instrument, resulting in more powerful, expressive and innovative artistic creation.

This is a local History of Music, related to Manacor town. From the earliest music landmarks to the contemporary ones, the path of the music practice is followed here, gathering repertoires, musicians, instruments and local bands. Although Manacor has been a small town since centuries, music has been always present in the community, as a permanent link between generations.