Arabic Music and Global Opportunities | Abdul Latif al-Zubaidi

Is addressing this topic one of the duties of journalists and the responsibility of cultural institutions? Musicians must have studied it decades ago with all the science and expertise they had. The starting point is obvious: what prevents Arab music from reaching the international level? This involves a very important sub-question: What models of Arab music have gained visage to the world outside the Arab countries? It is difficult to make a list before the last quarter of the twentieth century, but the disappointment after that is that even the softest of musical values ​​find them hard to see. A musical art representing Arabic music.
Is it necessary to give examples? Some may see it as blasphemous or disrespectful to the tastes that prefer those colors. Some of them go back to the popular tradition associated with Saint Saleh, and there is nothing wrong with that and its dance quality, but it lacks the necessary ingredients to become an ambassador for Arabic music in the world. Some of them are famous for repeating nonsensical audio clips. In fact, the artist’s voice has no characteristics of musical sound, no space or purity. In terms of the amount of musical values ​​and the structure of artistic values, Arab music cannot be judged as not having peaks in this important cultural field, therefore, no one without skills should claim to be a representative of Arab taste. However, even those modest samples with limited global consequences, compared to hundreds of millions of Arabs, amount to zero, and by no means exceed ten.
This is a problem even for our elite of serious musicians, they are not few and they have works that inspire pride and pride, but reaching the international in a global sense is difficult to participate in festivals and individual musicians or groups. Our musicians have achieved hundreds of such solo, duo and orchestral performances, but the reach of Arabic music at the international level is much less. This is not difficult to realize because the problem lies primarily with Arabic music itself, since it is not independent music and therefore not a universal language. It is still hostage to words, and has not been developed as a separate language. Our instruments are incapable of expressing themselves, except for the blowing in limited works compared to the souls of the Arab world.
What is necessary: ​​Intellectual Conclusion: For Arabic music to reach universal status, it must have universal forms and forms of expression.
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