10th Century Music

The music launch of 'Fun2shh- Dudes In The 10th Century':‘Fun2shh... – Dudes In The 10 th Century’ marks the silver-screen directorial debut of television director, Imtiaz Punjabi. The film’s music was recently launched by actor Gulshan Grover, who plays a 10 th century king in the movie. The music of ‘Fun2shh...’ has been composed by Prittam (of ‘Sharara sharara’ fame).Fun2shh...’ is a comedy, and so I didn’t want any serious stuff in the film and decided to have fun with the music, too. I’ve shown Broadway, there’s an English song in the film, there’s also a rap number... the music is totally in accordance with the film, which is a complete entertainer. Also, every song in the film makes the script go one step further. Every song has been treated more as a narrative, rather than just for its commercial value,” said Imtiaz.The film stars the king of comedy, Paresh Rawal, along with Raima Sen, Farida Jalal and Kader Khan, and introduces Anuj Sawhney, Iqbal Khan and Netaneya Singh.

Scheduled for a mid-December release, ‘Fun2shh...’ promises to be one helluva laugh riot. Let’s watch out for this one.The lessons he gave ranged from the very simple to the extremely complex. Poems were recited to a tambourine accompaniment, m an attempt to encourage appreciation of different rhythms and especially the place of accents. Pupils were introduced to the rudiments of melody, before moving on to the study of ornamentation, nuance and the possibilities for improvisation that constitute the charm of a work and the skill of an interpretation.Another of Ziryab's innovations was the development of the nawba, the performance of a suite of pieces composed in one mode. "It is customary in Andalusia," alMaqqari wrote, "to start with a nashid (recitative), then to continue with a basit (full-throated song) and finish with muharrakat and ahzaj (light, lively numbers), following the rules laid down by Ziryab."

One characteristic of these songs is the primacy of musical rhythm over poetic metre, giving birth to new styles: an elaborate form of the type of poem called the muwashshah and of its popular version, the lyrical zajal, subdivided into stanzas (aqfal) that are themselves composed of a variable number of short lines (aghsan). Ziryab was thus the architect of a veritable musical revolution that shattered the rigid framework of the old qasida poetry and opened the way for new metrical combinations.ROM SPANISH LYRICS TO THE TROUBADOURS' SONGS:he musical tradition of the Islamic Orient accorded to music mysterious properties that were both magical and mystical, as well as expressive and therapeutic powers linked to its powerful effects on the human psyche. Under Ziryab's influence, these conceptions, which in the East were enmeshed in fruitless speculation, acquired new vigour in the Muslim West and came to constitute the very foundation of the musical edifice.

Twenty-four imaginary nawba formed a symbolic "tree of temperaments" (shajarat al-tubu), each in its own tab' (mode). In addition, close links were forged between music's magical-religious origins and cosmology, medicine, mathematics and ethics. The strings of the 'ud were associated with cosmic influences and the elements of human physiology. In the direct line of mystical aspiration of the traditional Arab school, the fifth string added by Ziryab to the instrument's sonorous and living body was described as "red, like blood" and because of its central position was considered to symbolize life and the soul.The music Ziryab bequeathed to Andalusia profoundly influenced the music of medieval Europe, both in theory--for most of the Arab musical treatises, .of which some 250 were produced between the ninth and fifteenth centuries, were studied if not plagiarized in the great monasteries--and in practice, in the evolution of plainsong and early Roman chant.

It shaped important aspects of the Spanish lyrical tradition, as well as of the poetic and musical repertoire of the Provencal troubadours. Under the influence of Ziryab, several Arab instruments, including the 'ud and the rahab, came to be widely used under their Arab names. Ziryab's music had no need of a translator to be understood, and it contributed more than literature or philosophy to the extraordinary influence of Andalusian civilization.Visual arts:In Cambodia the Khmer empire succeeded to the old territories of Funan-Chenla. About 790 the first major Khmer rul

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