The principal form of Arabian music is the nauba, a suite of vocal pieces with instrumental preludes, that probably originated at the Abbasid court. In vocal music often a short melody is repeated for each stanza or verse, each repetition being elaborately ornamented. Until the development of instrumental music in the 10th cent., the rhythmic modes were primarily the vocal meters of poetry. Ornamentation in Arabian music consisted of shakes and trills, grace notes, appoggiaturas, and the tarkib, which was the simultaneous striking of certain notes with their fourth, fifth, or octave. Instead of scales within which melodies were composed, they became melodic formulas to be used in composition, a system much like the ragas of Hindu music. A new tuning of the gamut was adopted in the 16th cent., and not only the tones but also the nature of the maqamat were changed. five more tones were added, each a quarter tone below the diatonic whole tone, i.e., below d, e, g, a, b. Until this time the Arabian gamut had consisted of 12 tones roughly equal to the chromatic scale of Western music. This system lasted until the 11th cent., when the modes were increased to 12 by the 13th cent. ![]() c.715) contained, in its final form, eight modes. ![]() The melodic modal system of Ibn Misjah (d. The chief characteristics of Arabian music are modal homophony, florid ornamentation, and modal rhythm.
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