ETHN 100

Before Reading: This piece starts out with a single, monotonous note humming quietly and evenly in the foreground. This note eventually fades to the background and is overtaken by a string instrument–I assume an ‘ud, based on both the title of the piece and knowledge of relevant instruments–which improvises extensively around this original note, never straying more than an octave higher or lower than the original tone. The improvising becomes increasingly complicated as the piece continues, riffing and utilizing higher and higher notes. The piece feels mysterious and foreboding, as if alluding to a powerful force (a God, maybe?) that has yet to be introduced. There feels like there should be more, though– Both the foreboding quality of the piece and the isolation of the ‘ud sound like they are leading to something greater, and the end of the clip renders me desiring more. The relatively simple and un-cluttered melody of the improvisations sound like they belong in a smoky cafe, underscoring casual conversation. It is an un-obtrusive, ambient melody. After Reading: ’Ud Taqasim essentially translates to ‘Ud Solo, so that explains the isolation and extensive improvisations heard in the clip. The foreboding and unresolved quality to the piece that I felt makes complete sense in the cultural context, as well, as this was the opening piece for a Wasla, a series of 10-12 songs played by Takht musicians. As the opening piece, it’s intentions are to introduce an instrument (in this case, the ‘Ud), and make the listener want to hear more–it was successful in this respect, in that I definitely sensed that there was supposed to be something else afterwards. Interestingly, Takht musicians in the late 19th and early 20th centuries would often perform pieces like this in coffee shops or at formal dinners; even without cultural context, the music led my imagination to this very same coffee shop/casual atmosphere.Maqam Rast Suite ‘Ud Taqasim