{'fraction_non_alphanumeric': 0.023127753303964757, 'fraction_numerical': 0.0, 'mean_word_length': 5.226027397260274, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Music and Modernity in Contemporary Syria

like the Soghdian shahrud and Khurasan tunbur, described by al-Farabi, were governed by the same rhythmic principles as art singing (ghina') and other genres of performance practiced in cultural centres, like Damascus and Baghdad, and codified by music theorists from their intellectual milieux? Or could it be that some forms of temporal organisation of music remained unexamined, as they lay outside the realm of art music and were not identified with the concept of iqa'? These questions, though, may be set aside as tangential to George Sawa's work. Providing a comprehensive handbook on Middle Eastern theories and practices of Iqa' within the designated period, it will be of value to musicologists and performers alike, as well as to scholars across a variety of disciplines enquiring into the cultural and intellectual legacy of Arab Muslim civilisation. I*