Alla El Kahla Al-istikhbār as an Idiom of Performance in the Tunisian Musical Tradition

About this book

Al-istikhbār; a distinctive idiom, practice and genre within the rich tapestry of Tunisian musical heritage. This cultural and musical concept is acknowledged as a traditional instrumental and vocal genre not only within Tunisian musical tradition but also holds significant importance in the broader Maghreb music region.

While al-istikhbār possesses its own unique cultural essence, it is often compared to al-taqsīm, a prevalent practice in Arab art music, particularly in the Mashriq region. Arab musical scholarship has yet to arrive at a clear definition of al-istikhbār, especially within the context of literature viewed through a musicological lens and its various sub-disciplines.. This book centers on ethnomusicology—a sub-discipline of musicology—while critically assessing pertinent research directions in this field. The ambiguity surrounding al-istikhbār definition and terminology has led to a lack of comprehensive exploration within the broader context of scholarship on traditional world music.

Al-istikhbār has been largely overlooked in the realm of music lexicography, including dictionaries and encyclopedias relevant to musicology and its sub-disciplines. Prominent sources such as The New Grove Dictionary of Music and Musicians, MGG (Die Musik in Geschichte und Gegenwart), The Garland Encyclopedia of World Music, and the Harvard Dictionary of Music have not provided this Maghreb idiom the recognition it deserves. Despite its lasting importance in Maghreb and Tunisian music, al-istikhbār continues to be inadequately defined within the lexicon of musicology, and its sub-disciplines.

A thorough investigation into al-istikhbār was carried out through a meticulously structured process that spanned from autumn 2015 to winter 2019. This research was primarily centered in Tunis City and incorporated a blend of archival, field, and empirical methods. A diverse array of research methods was employed, including archival studies, fieldwork, research mapping, and survey research, complemented by qualitative approaches such as interviews and observations.

Additonally, the research embraced an interdisciplinary approach to provide a robust scientific perspective. By synthesizing the key findings, this endeavor seeks to deepen comprehension of this relatively under-researched topic in a in a thorough and insightful manner.

In summary, al-istikhbār has not been thoroughly examined through an ethnomusicological lens, particularly regarding its cultural and musical identity. Furthermore, its importance as a crucial element of Tunisian musical heritage and the wider Maghreb musical tradition is still not well defined. This book aspires to lay the groundwork for further exploration and a deeper comprehension of this significant topic.