Music of the past beside music of today

موسيقى الماضي بجانب موسيقى اليوم

How music from the past can be compared and contrasted with music of the present (C3.2)

DraftWritten with AI help from the sources it cites, and not yet read by a human editor.

Depth

At a glance

Curriculum expectations

  • C3.2 — compare and contrast music from the past and present […]

Brief

This lesson asks you to compare and contrast music from the past with music of the present. The museum links records of a reported change to an instrument and of a singer of today; the other side of each comparison your class brings. 1

What stays the same, and what changes?

Choose one thing to compare: an instrument or a singer's way of performing. Ask what you can say about each side from the record, and what you would still need to find out.

Go deeper

The TDV biography connects Ziryab with Baghdad, Kairouan and Cordoba. 2 Maqqari recounts a meeting with Harun al-Rashid, his refusal to use his teacher's oud, his preference for an instrument made by his own hands, his departure westward and the generous patronage he found in al-Andalus. 3 In Cordoba, the biography says, he gave organized singing instruction, and schools on its model followed in other Andalusi cities. 2 It describes stages that move from rhythm and words to melody and then to the subtleties of performance. 2

Often misunderstood

"Ziryab changed the oud" sounds like one change. The record separates three questions: string count, tuning and the plectrum. 4 Count concerns the additional string and its position, tuning concerns relationships between sounds, and the plectrum changes the means of exciting vibration. 4 The TDV account, reporting Henry George Farmer, gives a tuning story distinct from string count. 2 Attributing all three to one person does not make them one change. 4

Think about it

The record on Abida Parveen says that she trained with her father, Ustad Ghulam Haider, who ran a music school, and that Ustad Salamat Ali Khan also taught her. 5 The TDV biography describes Ziryab's teaching as moving from rhythm and words to melody. 2 What would you still need to find out about each before saying how learning music then differs from learning it now, and why?

Into the museum

  • Ziryab's reported fifth oud string: the account, the three changes and the limits of the sources.
  • Ziryab: his training and travel, his teaching and his family, as the records report them.
  • Abida Parveen: her teachers, the languages she sings in and the songs the record names.

Try this

Read Ziryab's reported fifth oud string and Abida Parveen. Write one similarity and one difference that the records let you support.

Sources

  1. Ontario Ministry of Education, The Ontario Curriculum: The Arts
  2. Ziryab — TDV , pp.464–465
  3. Nafh al-Tib min Ghusn al-Andalus al-Ratib — al-Maqqari , v.3 pp.122–125
  4. Nafh al-Tib min Ghusn al-Andalus al-Ratib — al-Maqqari , v.3 pp.126–127
  5. Abida Parveen — English Wikipedia
Cite this page

islam.museum contributors. “Music of the past beside music of today”. islam.museum, https://islam.museum/en/course/ca-on-g8-arts-c-1/. CC BY-SA 4.0. Last updated 2026-11-13.

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