The Iraqi Maqam is a set of musical conceptions and techniques on the basis of a given set of rules. In Iraq, the Maqam refers to a special kind of "suite" consisting of improvisations based on certain standard rules or performance and aesthetics. Al Maqam means dawr or melodic scale. The European scale is made up of tones and semitones while the Arabic scale is made up of quarter tones as well. The notes are represented by the names of the degrees of the scale. The degrees are called Maqams. Maqam is a collection of sung poems written either in one of the sixteen meters of classical Arabic or in Iraqi dialect (Zuhayri).

 

Maqam songs recorded many events and social aspects. Maqam historically fulfilled the purpose of a cultural ideal to foster respect for ethnic and social diversity. It is an expression of collective identity.

 

The roots of Iraqi Maqam can be traced back to Baghdad's heyday in the days of the Abbasid Caliphate, although the style of 19th century Turkmen composer Rahmat Allah Shiltegh (1798-1872) has had a more direct influence on modern Iraqi Maqam. In terms of content, however, the influence of Abbasid Baghdad is clearly discernible, for many of the lyrics for contemporary Maqam are taken from classical poetry, and in many instances it is those great poets of Baghdad's glorious pre-eminence who are the source.

 

Maqam ensembles (called Chalghi) typically include musicians playing Joza (viola), Santur (a trapezoidal dulcimer-like instrument with 23 strings), Daff or Raq (tambourine) and Tabla (hand drum) and a singer (called Qari), who recites the often centuries-old lyrics. Some troupes add the oud, which is not an instrument originally included in Maqam ensemble and will not be used in the two CD editions.