Al-Farabi’s philosophy of music “The Legality of Music”

This article's approach is to acquire Al Farabi's point of view on the philosophy of music. Under the heading of Farabi's music philosophy, we determine that music is not just about art and entertainment. For this reason, he carried the theme to a higher level in terms of science and philosophy with his proof method studies. First of all, we aimed to discover the traces of Farabi's inquiry method from his works. A philosopher and musician, Abu Nasr Al Farabi, wrote on the perfect city, logic, astronomy, linguistics, politics, mathematics, geometry, medicine, optic, philosophy, and music, known as the 'second teacher', the first being Aristotle. This investigation contributes to practical and theoretical music proposing formation in the context of correlation. From this perspective, a musical system's consistency level relies on a sense-perception, a method of relevant indications within other comparable and correlated systems. This inquiry analyzes correlations' modalities, exploring their general and particular attributes and their operational bounds. This article evaluated the description of meaning from one cognitive domain to another mental part, such as from mathematics to music or astronomy or psychology correlated with music science. Approaching music science with dimension and paradigm determined the requirement for detailed music research in science and measurement criteria. His book 'Ihsa', which describes the nature and enumeration of science in philosophy and science classification, was recognized in the Middle Ages. However, 'Musiqa' tops the list of Arab theoretical studies and has had a remarkable impact on later Arab music theory.

Cultural factors related to the decision of music education career choice in Jewish and Arab students in Israel

The decision to become a music educator can be influenced by the musical background of an individual, the cultural values, and by the perceived utilitarian value in terms of viable career option. This study was conducted among Jewish and Arab music-education students in Israel. The aim was to identify aspects related to choosing a career in music, particularly culturally shaped attitudes and perceptions. Cultural differences were examined using the Cultural Attitudes toward Music Experience and Education (CAMEE) questionnaire. Participants were 50 Israeli Jewish and Arab students who were enrolled in music education programs. Findings showed culturally related differences between participants’ musical upbringing. The Jewish students reported that they listened mainly to Western-style genres, played Western-type instruments, and studied Western music theory. The Arab students listened mainly to Middle Eastern Arab-style genres, played mainly music instruments that enable playing Arab music, and studied Middle Eastern Arab music theory. The Jewish students reported more experience with music and instrumental playing than their Arab peers. Motivation for teaching music included educational and ideological components for both groups, with Arab students reporting a higher level of utilitarian motivation

Arab Music: A Survey of Its History and Its Modern Practice

'Arab Music: A survey of its history and modern practice' is primarily meant for the general Western reader with some basic knowledge of music and music notation. It aims at correcting the still prevalent romantic image of Arab music, spread in the 19th century, as exotic and typified by long, plaintive and erotic sounding melodic lines and inciting rhythms. It offers the reader a comprehensive survey of the history and the development of Arab music and musical theory from its pre-Islamic roots until 1970, as well as a discussion of the major genres and forms practiced today, such as the Egyptian gīl, the Algerian raï and Palestinian hip hop. Other topics touched upon are musical instruments and folk music. The analysis of each genre is accompanied by a complete musical notation of an exemplary composition or improvisation, including lyrics and translation.

3. Between myth and history

‘Between myth and history’ begins with the 1932 Cairo Congress in Arab Music. The Arab contingent sought advice on progress, while the European delegates romanticized traditional Arab music. These contradictions, and Islam’s relationship with music, shaped the life-stories of three figures: 14th-century polymath Ibn Khaldūn; 20th-century Egyptian singer Umm Kulthūm; and ethnomusicologist Robert Lachmann, who found musical echoes of Muslim and Jewish pilgrims in Djerba, where he had been expecting to find local music fixed in time by isolation. The Mediterranean has inspired written and sung epics, which were translated into architecture and politics, taking them from myth into history.