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Taqsim
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Taqsim (Arabic: تَقْسِيم / ALA-LC: taqsīm, Sorani Kurdish: تەقسیم, Greek: ταξίμι, romanized: taksimi, Turkish: taksim) is a melodic musical improvisation that usually precedes the performance of a traditional Arabic, Kurdish, Greek, Middle Eastern, Iranian, Azerbaijani or Turkish musical composition.
Taqsim traditionally follows a certain melodic progression. Starting from the tonic of a particular Arabic maqam (or a Turkish makam), the first few measures of the improvisation remain in the lower ajnas of the maqam, thereby introducing the maqam to the listener. After this introduction, the performer is free to move anywhere in the maqam, and even to modulate to other maqams as long as they return to the original one.[1]
Taqsim is either a solo instrument performance, or one that is backed by a percussionist or other instrumentalist playing a drone on the tonic of the maqam.
See also
[edit]References
[edit]- ^ Peretz, Jeff (2004). Middle East: Your Passport to a New World of Music. Van Nuys, CA.: Alfred Music Publishing. p. 14. ISBN 978-0-7390-3599-3.
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Taqsim
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Taqsim (Arabic: تقسيم, taqsīm; plural taqāsīm) is a non-metric improvised solo form central to Arabic classical music, in which a performer explores and elaborates upon a specific maqam (melodic mode) through free rhythmic phrasing and melodic variation, often serving as a prelude to a composed piece or as an independent genre.[1] The term itself derives from the Arabic word meaning "division," reflecting the practice of dividing and developing modal phrases to showcase the musician's creativity, technical skill, and emotional depth.[1] Typically performed on solo instruments such as the 'ūd (oud), qānūn (qanun), or nay (ney), taqsim adheres to the rules of the maqam system while allowing for spontaneous invention, blending traditional motifs with novel expressions.[2][3]
Historically rooted in the oral traditions of the Arab world, taqsim evolved from earlier vocal practices during the Ottoman period in the 16th century, transitioning to instrumental forms by the 18th and 19th centuries, particularly in regions like Egypt, Syria, and Turkey.[3] Its earliest documented Arabic references appear in early 20th-century texts, such as Kamil al-Khula‘i's 1904 treatise, though the concept of melodic scansion (qisma) traces back to medieval sources like the Kitāb al-Aghānī.[2][3] By the phonograph era in the early 1900s, taqsim became a staple of recordings, often filling entire sides of 78-rpm discs, which elevated its status as a showcase for virtuosity and contributed to its spread beyond the Arab world to Persian, Turkish, and other Middle Eastern traditions.[3] In the classical Arabic waṣla (suite), it typically follows an instrumental istihlāl (prelude) and precedes vocal forms like layālī or muwashshaḥ, functioning to introduce the maqam and build audience engagement through tarab (musical ecstasy).[2][1]
Structurally, a taqsim lacks fixed meter or form, progressing through an introduction that establishes the maqam, a core section of ascending and descending explorations with rhetorical pauses, and a conclusion that resolves to the mode's tonic, all while maintaining internal phrase rhythm.[2] Learned through oral imitation and experimentation rather than notation, it demands deep knowledge of maqam theory and cultural nuance, integrating both recycled traditional elements and original ideas.[1] Notable performers include Muhammad al-Qaṣabjī (1898–1964), a pioneer of 'ūd taqsim during the 1920s golden age of Egyptian recordings, and Riyāḍ al-Sunbāṭī (1906–1981), renowned for his precise and resonant interpretations in the 1970s.[3] Variations exist regionally, such as the Turkish taksim, which may incorporate metric elements or different placements within suites, highlighting taqsim's adaptability across Middle Eastern musical landscapes.[3]
Definition and Etymology
Etymology
The term taqsim originates from the Arabic تَقْسِيم (taqsīm), a verbal noun derived from the triconsonantal root ق-س-م (q-s-m), signifying "to divide," "to partition," or "to distribute." This root's connotation of segmentation aptly mirrors the musical practice of taqsim, in which performers divide and elaborate melodic motifs through improvisation.[1] Borrowed into other languages of the region, the term appears as taksim in Turkish, retaining its Arabic-derived meaning of division or apportionment, particularly in the context of instrumental improvisation within classical Ottoman music traditions.[4] In Persian (taqsīm) and Urdu (taqseem or taqsim), it similarly evokes notions of distribution, extending to musical applications that emphasize spontaneous melodic development.[5] The term's integration into music theory reflects a broader linguistic evolution from classical Arabic usage, with documented applications in musical contexts emerging in 17th-century Ottoman sources, such as Wojciech Bobowski's Mecmû'a-i Sâz ü Söz (ca. 1650), where it denotes improvised melodic exploration.[6] Earlier conceptual parallels to melodic division appear in medieval Arabic treatises, though the specific nomenclature for the improvisational form solidified later in regional practices.Core Definition and Characteristics
Taqsim is a melodic instrumental improvisation, typically performed as a solo, that precedes or stands alone within formal compositions in Arabic, Turkish, and related musical traditions. The term derives from the Arabic root meaning "division," signifying the partitioning and variation of melodic phrases during performance.[1] Central to taqsim are its non-metric characteristics, featuring free rhythm without fixed accompaniment, often sustained by a drone or ostinato to emphasize melodic flow. Performances commonly last from a few minutes to around ten or more, enabling the musician to deeply explore a single principal maqam through gradual development of its intervals, motifs, and affective qualities, occasionally incorporating brief modulations to related modes for expressive contrast.[7][1] Unlike metered forms such as the samai or longa, which adhere to structured rhythmic cycles and composed sections, taqsim prioritizes unmeasured improvisation as an introductory or autonomous vehicle for personal expression and emotional depth.[7][3]Historical Development
Origins in Arabic Traditions
The theoretical foundations of practices akin to taqsim trace back to the medieval Islamic Golden Age (8th–13th centuries), a period of profound intellectual and artistic advancement in the Arab world, where music theory was systematically developed drawing from Greek precedents and local traditions. Early scholars like Al-Kindi (c. 801–873 CE), often regarded as the first major Arab music theorist, laid foundational principles for modal systems in works such as his treatises on music, which explored intervals, scales, and the emotional impact of melodic variation.[8] These efforts established a theoretical framework for melodic exploration within defined modes that would influence later improvisational forms. Similarly, Safi al-Din al-Urmawi (c. 1216–1294 CE), a prominent musician and theorist, further refined these concepts in his seminal Kitab al-Adwar (Book of Musical Modes), where he categorized 12 principal maqams and numerous secondary ones, providing a structured basis for improvisational practices that allowed performers to demonstrate virtuosity through modal elaboration.[9] The concept of melodic scansion (qisma), from which the term taqsim derives, appears in medieval sources like the Kitāb al-Aghānī, emphasizing division and variation of modal phrases. Improvisational techniques tied to the adwar (cycles of modes) system are described in 13th-century texts by Safi al-Din al-Urmawi, highlighting the emphasis on "division" (from the Arabic root q-s-m, implying melodic branching and variation) and positioning such practices as core elements of Arabic musical pedagogy and performance that persisted through centuries of transmission. Such theoretical articulations during the Golden Age not only preserved but also innovated upon improvisational practices, influencing later regional adaptations via cultural exchanges in the Ottoman era.[2]Evolution in Turkish and Regional Variants
In the Ottoman Empire during the 16th to 19th centuries, taqsim evolved from earlier vocal practices into "taksim," a free-meter improvisational form deeply integrated into the fasıl suites of classical Turkish music, where it served as an interlude to introduce or transition between composed sections while exploring the makam system's melodic paths and modulations. Emerging prominently in the 17th century, initially in both vocal and instrumental variants, and transitioning more fully to instrumental forms by the 18th and 19th centuries, taksim became essential to courtly and Mevlevi dervish performances by the 18th century, emphasizing non-metrical flow and the "seyir" (melodic progression) of makams to create emotional depth without adhering to fixed rhythms. By the 19th century, instrumental taksim dominated urban Ottoman ensembles, often dividing the peşrev (overture) from semai movements in the fasıl-i sazende, reflecting a maturation of the genre as a vehicle for virtuosic expression within the cyclical structure.[10] This adaptation spread to neighboring regions, incorporating local influences that enriched taqsim's rhythmic and expressive subtleties. In Kurdish musical traditions, taqsim-like improvisations incorporate folk motifs and microtonal bends, often performed on tanbur or saz in contexts blending classical and nomadic styles. In Persian music, analogous forms such as badheh navazi extended taqsim principles into the dastgah system, adding layered rhythmic subtleties via avaz (unmetered vocal improvisation) that emphasized poetic delivery and subtle metric shifts influenced by regional Iranian modes.[11] Greek rebetiko music adapted it as "taximi," an improvised instrumental prelude borrowed directly from Turkish taksim, setting the dromos (mode) for songs and evoking urban underworld emotions, though shortened in early 20th-century recordings due to technical constraints.[12] In Azerbaijani mugam traditions, taqsim extended into extended improvisational cycles akin to the genre's core, where instrumental solos on tar or kamancha incorporated Iranian dastgah influences to heighten dramatic modulations and philosophical depth.[13] During the 19th and 20th centuries, taksim underwent standardization in urban centers through institutional efforts and mass media, preserving and disseminating its Ottoman-Turkish form amid modernization. In Istanbul, conservatories like the Darü'l-Elhan (founded 1917) and later the State Conservatory formalized taksim pedagogy, codifying makam progressions and performance etiquette to train generations of musicians in a unified classical repertoire.[14] Radio broadcasts from the 1930s onward, via stations like Istanbul Radio (TRT), further standardized the genre by featuring renowned performers and limiting improvisational lengths to fit programming, influencing regional variants across the former empire.[15] Similarly, in Cairo, the 1932 Congress of Arab Music promoted taqsim's modal framework, while Egyptian radio and the Institute of Arab Music (established 1929) broadcast standardized versions, blending Turkish influences with local Arabic practices to shape pan-regional norms.[16]Musical Elements
The Role of Maqam
In Arabic music, the maqam serves as a melodic mode that forms the foundational framework for taqsim, an improvised instrumental genre. It encompasses specific scales constructed from a series of pitches, often divided into building blocks known as ajnas, which are typically tetrachords or short melodic phrases. These ajnas provide the structural units for melodic development, allowing performers to navigate a predefined yet flexible modal path.[3][17] Each maqam is also associated with distinct emotional qualities; for instance, the Hijaz maqam evokes feelings of longing and yearning, frequently used in expressions of spiritual or romantic nostalgia, while the Rast maqam conveys stability and grandeur, symbolizing composure and resolution.[17][18] Within a taqsim, the performer adheres to a single principal maqam throughout the piece, beginning on its tonic note to establish the modal identity and then systematically exploring its constituent ajnas. This sequential unfolding allows the improvisation to delve into the maqam's internal architecture, highlighting characteristic intervals, melodic motives, and ornamental patterns unique to each ajna. The process creates a sense of progression, where the performer introduces variations and elaborations while maintaining fidelity to the maqam's core scale and phrasing.[3][18] Modulation in taqsim involves brief, controlled shifts to related maqams to add color and depth, but these excursions are governed by established rules to preserve the principal maqam's dominance. For example, a performer might transition from Bayati, which carries a melancholic tone, to the closely related Nahawand for a momentary contrast in mood or texture, often using shared ajnas as bridges. However, such modulations are temporary; the taqsim must invariably return to the original maqam for resolution, typically culminating on its tonic to achieve a sense of closure and fulfillment. This cyclical return reinforces the maqam's emotional and structural integrity, distinguishing taqsim from more free-form improvisations.[3][18]Improvisation Techniques and Structure
Taqsim improvisation typically follows a structured yet flexible form that unfolds within the framework of a chosen maqam, beginning with an introduction focused on the lower ajnas (tetrachords) to establish the modal foundation. This initial phase presents the core melodic material in a contemplative manner, often lingering on the tonic or lower register to evoke the maqam's inherent character. The development then progresses through ascending and descending phrases, exploring modulations to related ajnas or secondary modes, building tension through gradual expansion of the melodic range and rhythmic elaboration. A climax follows, marked by heightened intensity, rapid ornamentation, and register shifts to the upper octave, showcasing the performer's technical prowess and emotional depth. The piece resolves by returning to the primary maqam, summarizing key phrases in a decelerating cadence that provides closure.[7][1] Key techniques in taqsim improvisation emphasize expressive freedom and melodic nuance. Rubato timing allows for elastic phrasing, with accelerations, ritardandos, and pauses that enhance dramatic effect and personal interpretation, diverging from the rigid meters of composed forms. Ornamentation plays a central role, incorporating glissandi for smooth microtonal slides between notes, trills for sustained emphasis, and other embellishments like appoggiaturas to add color and vitality to the line. Phrase variation involves recycling and transforming short melodic motifs—reordering intervals, altering durations, or sequencing them in ascending patterns—to maintain coherence while introducing novelty, all aimed at evoking the emotional essence inherent to the maqam. These techniques enable the performer to navigate the modal system spontaneously, prioritizing rasa-like affective resonance over predetermined patterns.[7][1][19] The non-metric nature of taqsim grants performers liberty from fixed rhythms, permitting spontaneous division into 3-5 sections delineated by rhetorical pauses or silences, each centering on a distinct melodic idea or maqam facet. This contrasts sharply with metered compositions like the sama'i, as taqsim's temporal fluidity—often spanning 2 to 8 minutes—facilitates organic growth from simple exposition to elaborate discourse. Such sectional freedom underscores the genre's improvisatory essence, where structure emerges from intuitive progression rather than strict adherence to form.[7][19][1]Performance Practices
Instruments Commonly Used
Taqsim, as a form of solo instrumental improvisation in Arabic and Middle Eastern music, is predominantly performed on melodic instruments capable of expressing the microtonal nuances of the maqam system. These instruments are typically unaccompanied, allowing the performer to explore melodic development without rhythmic constraints. The selection emphasizes string and wind instruments that facilitate intricate ornamentation and modulation.String Instruments
The oud, a pear-shaped fretless lute, serves as one of the most central instruments in taqsim performances, featuring 11 strings arranged in five pairs tuned in unison and a single bass string.[20] Its short neck and resonant body enable performers to articulate quarter tones and subtle bends essential to maqam exploration. The buzuq, a long-necked fretted lute with a smaller body than the oud, is widely used in Levantine Arabic taqsim, particularly for its ability to produce bright, percussive tones through plectrum strikes.[21] It typically has six to eight strings, allowing for versatile melodic improvisation in solo contexts.[22] The qanun, a trapezoidal zither, features 78 strings organized in 26 courses of three strings each, stretched over movable levers to adjust intonation for microtonal accuracy in taqsim.[23] Its plucked sound provides a shimmering, harp-like texture ideal for rapid scalar runs and melodic support within improvisational structures.[24]Wind Instruments
The nay, an end-blown flute crafted from reed (often resembling bamboo in texture), is a staple for taqsim in Arabic traditions, prized for its breathy, ethereal tone that evokes emotional depth through vibrato and pitch bends. Its six finger holes allow precise control over the maqam's quarter tones, making it suitable for contemplative solos.[25] The zurna, a double-reed wind instrument with a conical bore, appears in regional variants of taqsim, especially in Anatolian and Balkan-influenced contexts, where its loud, piercing timbre suits outdoor or ensemble-adjacent improvisations.[26]Other Instruments
The violin, adapted into Arabic music during the late 19th century, has become integral to urban taqsim styles, replacing earlier bowed instruments like the rebab with its capacity for sustained notes and expressive glissandi.[27] In Turkish contexts, the saz (also known as bağlama), a long-necked plucked lute with multiple courses of strings, is employed for taksim, offering a folk-inflected approach to modal improvisation through its versatile fingering techniques.[28]Techniques and Contexts of Performance
Taqsim is predominantly performed as a solo improvisation, often unaccompanied to highlight the performer's direct engagement with the maqam, though it may incorporate a subtle drone on instruments like the buzuq to sustain the tonic note and provide harmonic grounding.[1] This drone, typically an ostinato bass, maintains tonal focus without imposing rhythm, allowing the soloist freedom in melodic exploration.[1] In some cases, occasional percussion—such as the riqq tambourine—adds understated rhythmic pulses to enhance texture, but it remains secondary to the non-metric flow.[29] In performance contexts, taqsim frequently serves as an introductory prelude to vocal forms like the muwashshaḥ, establishing the maqam and emotional tone before the structured singing begins.[29] Within the traditional takht ensemble, comprising instruments such as the oud, nay, qanun, violin, and riqq, taqsim acts as an improvisational interlude that showcases individual virtuosity amid group settings.[29] By the 20th century, it evolved into standalone concert solos in recitals, often recorded without audience interaction to emphasize personal expression, as seen in performances from the 1970s onward.[19] The virtuosic demands of taqsim prioritize emotional storytelling and interpretive depth over mere technical speed, requiring performers to convey narrative arcs through melodic sequences and ornamentation.[1] For wind instruments like the nay, this involves precise breath control and overblowing techniques to produce sustained, expressive tones and microtonal nuances.[19] On string instruments such as the oud or violin, finger independence is essential for executing rapid scalewise figures, repeated notes, and modulations while maintaining rhythmic freedom and emotional intensity.[19] These elements collectively demand mastery of improvisation, enabling the performer to build tension through sectional development—typically 5 to 12 parts—culminating in climactic resolutions.[19]Notable Examples and Performers
Historical Figures and Recordings
Muhammad al-Qaṣabjī (1898–1964), an Egyptian oud virtuoso, pioneered taqsim performances on the instrument during the 1920s golden age of Egyptian recordings. His improvisational works, known for their emotional depth and technical innovation, were captured on early phonograph records, helping to popularize and preserve Arabic classical improvisation.[3] Riad Al Sunbati (1906–1981), an Egyptian composer and oud virtuoso, was renowned for taqsim performances on the instrument, particularly in the Bayati maqam, during the golden age of Egyptian music. His improvisational works, characterized by emotional depth and technical mastery, were captured in recordings from Cairo radio sessions in the 1930s, contributing to the preservation and popularization of Arabic classical improvisation.[30][31] Munir Bashir (1930–1997), an Iraqi oud master, elevated taqsim to new heights with his extended improvisations in maqams such as Rast and Saba, blending Iraqi traditions with broader Arabic modal structures. His 1970s LP recordings, including those on the album L'Art du 'Ud (1971), showcase intricate melodic development and rhythmic nuance, establishing him as a central figure in mid-20th-century Arabic instrumental music.[32][33] These historical figures' recordings have profoundly influenced modern Arabic musicians, inspiring adaptations in contemporary taqsim practices.[34]Contemporary Artists and Innovations
Anouar Brahem, a Tunisian oud player born in 1957, has expanded taqsim through intricate improvisations that integrate Arabic classical traditions with jazz and Western classical influences.[35] His album Astrakan Café (2000) exemplifies this approach, featuring fluid taqsim passages on oud alongside clarinet and percussion in a chamber-like setting that evokes both modal depth and improvisational freedom.[36] Brahem's work builds on the legacy of historical masters like Munir Bashir while pushing boundaries with subtle harmonic explorations.[37] Rabih Abou-Khalil, a Lebanese oud virtuoso born in 1957, is renowned for his fusion taqsims that merge Arabic maqam structures with Western jazz rhythms and classical phrasing.[38] In albums like Morton's Foot (2003), his compositions incorporate extended improvisations on oud, blending microtonal scales with ensemble interactions that highlight rhythmic complexity and melodic invention.[39] Abou-Khalil's innovations often feature collaborative elements, such as dialogue with Western instruments, to create hybrid forms that resonate in global jazz contexts.[40] Contemporary taqsim has seen innovations in electronic integrations, with artists like Aviv Bahar performing on electric oud to amplify improvisational textures in modern settings.[41] Similarly, Simon Shaheen's violin taqsims, rooted in Arabic traditions, have gained prominence at world music festivals, such as his quintet performances at the Gnaoua Festival in Morocco, where they bridge classical improvisation with cross-cultural ensembles.[42] Gender shifts are evident in the rise of female performers like Syrian qanun master Maya Youssef, whose taqsims challenge historical male dominance by infusing personal narratives and innovative techniques into maqam-based solos.[43] These developments reflect taqsim's adaptability, incorporating technology and diverse voices to sustain its vitality in 21st-century music.Cultural and Artistic Significance
Role in Arabic and Middle Eastern Music
Taqsim serves as a fundamental pedagogical tool in Arabic music education, particularly within conservatories where students learn to master the maqam system and develop improvisation skills through immersive practice.[44] Aspiring musicians engage with taqsim by imitating recordings and live performances, as formal structured methods for teaching this improvisational form remain limited, emphasizing personal effort and aural training to internalize modal progressions and melodic nuances.[44] This approach fosters a deep understanding of maqam, enabling performers to navigate microtonal scales and modulations intuitively, which is essential for broader repertoire mastery in traditional Arabic music curricula. Beyond education, taqsim plays a profound emotional and narrative role in Arabic and Middle Eastern music, evoking tarab—a state of ecstatic rapture or intense emotional response that connects performers and audiences through heightened expressivity. Instrumentalists use taqsim to alter listeners' sense of temporality and build melodic narratives, thereby linking the music to poetic themes of longing, joy, or melancholy.[44] In Sufi spiritual contexts, taqsim facilitates emotional unity (wahdat al-shu’ur) and absorption (indimaj) during chants and gatherings, allowing improvisers to adapt in real-time to the spiritual states (ahwal) of participants, thus bridging music with mystical poetry and divine connection.[45] Taqsim also holds a prominent place in folk and urban genres across the Middle East, where it integrates seamlessly into everyday musical expressions, such as Egyptian baladi performances that accompany social dances. In baladi taqsims, solo melodic improvisations on instruments like the accordion or oud introduce the maqam and build tension gradually, providing dancers with opportunities to respond expressively to the evolving rhythms and moods before transitioning to fuller ensemble sections.[46] This form underscores taqsim's versatility in grounding urban folk traditions, enhancing communal experiences through its non-metric, narrative flow.Global Influence and Modern Adaptations
During the 20th century, taqsim spread beyond its Middle Eastern origins through diaspora communities, influencing musical traditions in regions with historical Ottoman ties. In Greece, following the 1923 population exchange between Greece and Turkey, taqsim evolved into taximia, an improvisational form integral to rebetiko music, which blended modal Arabic and Ottoman elements with local Greek styles.[47] Prominent singer Roza Eskenazi (1890–1980) exemplified this fusion in her recordings, such as taximia pieces that captured the emotional depth of refugee experiences through unaccompanied instrumental preludes on instruments like the bouzouki.[47] Similarly, in Iranian classical music, taqsim-like improvisations, often termed badahyeh or avaz within the dastgah system, incorporated maqam frameworks, as seen in compositions blending Persian modalities with Middle Eastern improvisation techniques.[48] In modern adaptations, taqsim has been integrated into global genres, particularly world jazz, where its modal improvisation complements jazz's harmonic freedom. Palestinian-American musician Simon Shaheen (b. 1955) has been a key figure in this fusion, directing the Qantara ensemble since the late 1990s to merge Arabic taqsim with jazz, Western classical, and Latin elements; notable examples include tracks like "Taqasîm on the Beat" from his 1993 album Taqasim, featuring oud improvisation over rhythmic jazz beats, and "Blue Flame" from the 2003 Qantara album, which layers taqsim motifs with ensemble spontaneity.[49] Shaheen's collaborations, such as with Henry Threadgill on the 1993 album Too Much Sugar for a Dime, further highlight taqsim's adaptability in jazz contexts, drawing parallels between maqam-based quarter tones and free jazz exploration.[50] In film scores, taqsim appears in Middle Eastern and North African (MENA) cinema to evoke cultural authenticity and emotional nuance; composer Kamran Rastegar, known for soundtracks to films like Salt of This Sea (2008) and When I Saw You (2012), incorporates taqsim improvisation on the oud as a foundational element in his scoring process, layering it with modern orchestration to reflect narrative themes of displacement.[51] Additionally, digital sampling has enabled taqsim's use in electronic music, with virtual instruments replicating its expressive leads; TAQS.IM's SOLO synth (released 2020), for instance, combines sampled Middle Eastern instrument waveforms—such as oud and ney taqsim phrases—with hybrid synthesis, allowing producers to integrate authentic maqam improvisations into electronic tracks across genres like ambient and world electronica.[52] As of 2025, TAQS.IM demonstrated updates to the SOLO synth at the NAMM Show, enhancing its microtonal capabilities for broader digital music production.[53] Efforts to preserve and globalize taqsim have gained institutional support, notably through UNESCO's recognition of related Arabic musical traditions. The Iraqi maqam, which includes improvisational segments akin to taqsim, was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in 2008 (proclaimed in 2003), underscoring its role in Arabic classical music and prompting international safeguarding initiatives like recordings and performances in diaspora communities.[54] Complementing this, online platforms have democratized access to taqsim learning worldwide, offering structured courses on maqam theory and improvisation techniques for instruments like the oud and violin. Examples include the TAQS.IM Oud Course, providing 12 video lessons on scales and taqsim patterns for beginners and intermediates, and Wassim Jourdi's online oud lessons, which emphasize systematic maqam application and risha (plectrum) techniques for global students via webcam.[55][56] These digital resources facilitate cultural transmission, enabling learners outside the Middle East to engage with taqsim's improvisational essence.References
- https://en.wiktionary.org/wiki/taksim
- https://en.wiktionary.org/wiki/taqsim