A popular classical music tradition in Iraq, the Maqam comprises a vast repertory of songs performed with an array of traditional instruments. The Maqam also provides a wealth of information regarding the musical history of the region and the Arab influences that have held sway over the centuries. Maqam repertoires are predominantly found in the cities of Baghdad, Mosul, Kirkuk, and Basra, and they combine the musical styles of the many ethnic groups that inhabit Iraq. This includes the Bedouins, the Arabs of rural areas, the Kurds, and the Turkmen, as well as the Persians and Turks from the neighboring countries.
It is unknown when the Maqam tradition in Iraq began, but it has been debated among the Maqam musicians and connoisseurs for several centuries. Some say that it is several hundred years old and was brought to Iraq by the Ottoman Empire in the 16th century. Others argue that it begins during the Abbasid period (8th-13th century A.D.) when Baghdad was the center of the Islamic caliphate and was an influential center for art, learning, and technological achievement. Other scholars believe that the Maqam dates back even farther than ancient Iraqi civilizations, the Babylonians, or perhaps the Sumerians.
A typical Iraqi Maqam includes numerous genres and primary melodic modes. It includes improvisational vocal segments, some of which are accompanied by the metric accompaniment and lead to a medley of strophic songs. The skillfully improvised lead vocalist, or Qari, creates an intricate interplay with the orchestra that accompanies the performance. In addition to instruments, the Maqam includes instruments such as the board cither santur, four-string spike fiddles (Jawzah), low-pitched hand drums (Dumbak), and small tambourines (Daff). The repertory is rooted in classical and colloquial Arabic poetry. The Maqam is highly revered by scholars and musicians, as well as the larger Iraqi population.
Before the 20th century, the Maqam was regularly heard in the urban centers of modern-day Iraq. Its melodies were heard in many settings, including in calls to prayer, during mawlid rituals (celebrations of the birth of the prophet Mohammed and/or other holy persons), and during Qur'anic recitation. Maqam melodies were also used in Zurkhanes (athletic houses) to energize participants, while they conducted physical activity. Street vendors even sang it when advertising their products. Tradition dictated which types of vendors performed which melodies. Formal Maqam concerts were held in private homes during celebrations and in Gahawi (coffeehouses) as the primary venues for performing Maqam.
Even though many Arab music styles have disappeared or become westernized, the Iraqi Maqam has remained intact. This type of music is particularly known for its ornate vocal technique and improvisational style. Maqam concerts are less frequently held in front of large audiences, as a result of current political situations. They tend to be limited and performed in private settings. However, Iraqi Maqam is increasingly popular abroad, as evidenced by the number of live performances and recordings it has made.
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