The Muwashahat
A Musical and Poetic Tapestry
The muwashahat, the plural of muwashah, is a genre of Arabic poetry that emerged as an innovation, deviating from the traditional rules and characteristics of classical Arabic poetry. This innovation manifested in several ways including:
- The incorporation of colloquial Arabic, Spanish loanwords.
- departures from the established meters and rhyme schemes of classical Arabic poetry.
The muwashah can be seen as a product of the cultural intermingling between the East and West during the Arab presence in Andalusia, and a response to a growing desire for a more flexible poetic form that could be easily set to music and transformed into popular songs.
This new art form quickly gained popularity and spread beyond Andalusia to the Levant, Egypt, and North Africa, exerting a profound influence on Arabic music. Originating in Andalusia in the late 9th century, the muwashah initially consisted of poems with a single meter but varied rhyme schemes.
The term “muwashah” itself is derived from the Arabic word for “weshah” a richly decorated scarf that covers the shoulders and waist, worn by Andalusian women. This imagery evokes the elegance and sophistication of the muwashah, and hints at one of its most common themes: love poetry. Many muwashahat also celebrate the beauty of the Andalusian landscape.
This article will focus on the musical aspects of the muwashah. One of the most distinctive features of muwashah melodies is the use of complex, asymmetrical time signatures such as 5/4, 7/4, 7/8, 10/8, 11/8, 13/8, and 17/8. Here you are some of these Beats or in Arabic (Iqa’at):
1. Iqa’a (York – Al dareaj)
Muwashah: Jadaka alghaith
2. Iqa’a ( Samaai Thakeel ).
Muwashah: Lama Bada Yatathana.
3. Iqa’a ( Al Zarafāt).
Muwashah: Wal-ladhi walaka ya qalbi.
4. Iqa’a ( Khosh renk ).
Muwashah: Sellah feen Al lahza Hendya.
5. Iqa’a ( Al Shanbar Al Halabi ).
Muwashah: Ishfa’oo lee ya Aal-Wuddi
These time signatures enable the creation of melodies that cater to the desires of muwashshah enthusiasts for improvisation and extended vocalization, mirroring the freedom of the poetic verse itself. This is most evident in the performance of the muwashshah, where it starts with its foundational melody, which the chorus repeats. The soloist then demonstrates their skill by re-performing the same or different sections of the muwashshah, but with new melodies and different maqams from the original maqam in an improvisational manner, making each repetition a unique musical moment. This is known as tafrid, while the chorus continues to repeat the original melody after the soloist’s section, creating a dialogue between the two.
You can also view samples of sheet music for muwashshahat in our sheet music library:
Last Updated 9/10/2024
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