Since the beginning of human history, all civilizations have had their own ways of expressing creativity. One form of creative expression that all civilizations share is music. Music originating from regions like East Asia, South Asia, Africa, Europe, and the Middle East has evolved in unique ways over the years. For example, South Asia developed a system of organizing notes known as a “raaga,” while the Middle East has its own note groupings called maqamat. These are distinct methods through which these regions have composed their music.

However, when looking at contemporary music across the globe, one rarely sees instances of a “raaga” or a “maqam” being used in songwriting. What changed over time that led to the erasure of these distinct regional concepts? When discussing classical composers from the 18th century, scholars often describe figures like Mozart or Beethoven as revolutionaries of their time. A common theme in defining “high art” is that the artists who create it are predominantly European men. While these composers made significant contributions to the music community, it is essential to recognize the nuance and uniqueness of musical styles from other cultures, particularly those of the Middle East.

Before John Coltrane and Miles Davis introduced the concept of modal jazz to American audiences in the mid-20th century, Middle Eastern musicians had been playing complex music since the Middle Ages. The primary difference between Western and Middle Eastern music lies in their writing styles: Western music often employs polyphony, while Middle Eastern music tends to focus on monophony. Western music conveys ideas through chords, with the tensions and resolutions of these chords forming the vocabulary of the music. In contrast, Middle Eastern music does not traditionally incorporate harmony in the same way; instead, it emphasizes the interactions of different scales, or, in this context, a ‘maqam.’ This approach still involves tension and release, but rather than focusing on chords, the notes used in the maqams suggest whether the maqam is considered “tense.” These interactions are precisely what Miles Davis and John Coltrane incorporated when improvising in their music, highlighting the influence and advanced nature of traditional Middle Eastern music before Western styles became dominant.

Focusing solely on a Western perspective has overshadowed the revolutionary techniques employed by artists from around the globe. The contributions of classical Middle Eastern composers to contemporary music cannot be overlooked. Recognizing that the ideas of musicians from diverse backgrounds, not just European men, have shaped our music today is crucial for understanding the complexities and richness of cultures worldwide. This awareness could potentially spark further innovation in the contemporary music scene today.

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