Abstract
This study aims identifying (Samaie) form and (Maqam Al Kurd) and its branches, then recognizing Tatyos Efendi and Rohy Al khammash`s style of using Al Maqam, rhythm and transitions in Maqam scale for (Hijaz kar Kurd) and recognizing the fundamentals of Maqam Kurd and the methods of using them in Arabic composing in Samaie form. Samaie form is considered a form of instrumental musical forms which is a piece of music which can be distinguished for having Maqam transitions and beauty in performance which reveals the performers skills in playing the Samaie. The researcher chose musical pieces from different periods of time which are, Samaie Hijaz kar Kurd for Tatyos Efendi (1885-1913), and Rohy Al khammash (1923-1998), and this comparative study helps to identify the performers style in using Maqam Hijaz kar Kurd, changing Maqam and melodic track. This study consisted of two parts: Part one: A: Theoretical frame work which are: Research introduction, research problem, aims, importance, questions, procedures (research methodology, research sample, research tools, research limits and terms). Part one: B: Previous studies. Part two: Applied frame work, research results, Answers of the research, researchers recommendation and references.
Recommended Citation
Naser, Ala
(2020)
"Maqam Transitions and Melodic Tracks in Samaie Hijaz Kar Kurd by Tatyos Efendi and Rohy Al Khammash,"
An-Najah University Journal for Research - B (Humanities): Vol. 31:
Iss.
1, Article 4.
Available at:
https://digitalcommons.aaru.edu.jo/anujr_b/vol31/iss1/4