Description
Since 1990 the interaction of contemporary compositional strategies with traditional practices and tonal systems of non-Western music has been increasing in the European new music scene. The question how music material from a different musical culture can be integrated into new music and how this process can be analyzed is the core of many discussions in the last three decades in field of musicology and music analysis. This paper presents the categories of intercultural reception, specifically focused on the use (integration) of selected Arab traditional musical practices into music of 20th and 21st century. In general, the reception of Arab music and its Music Theory in the context of new music has rarely been researched, although it represents an important segment of the global art new music scene. The compositional (intercultural) reception will be demonstrated using analysis of selected compositions written by Swiss composer Klaus Huber, German-Palestinian composer Samir Odeh Tamimi and Egyptian-Austrian composer Amr Okba. As a result of my research and analysis, I will present three categories of mentioned reception which I called: 1) musical difference; 2) aesthetical presentation; 3) Decontextualization. Apart from the analysis, the reception also charts the relationships between different aspects of Arab and Western music since the 1990 and the associated differentiations, connections, and confrontations between these two musical cultures. In addition, the social, spiritual, and political aspects behind the compositional concepts will be also illuminated.
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