Arabic Art Song: A Case Study on the IPA and Performance Practice of the Vocal Works of Iyad Kanaan
Brewster, Jamille
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https://hdl.handle.net/2142/133238
Description
Title
Arabic Art Song: A Case Study on the IPA and Performance Practice of the Vocal Works of Iyad Kanaan
Author(s)
Brewster, Jamille
Issue Date
2026
Director of Research (if dissertation) or Advisor (if thesis)
Herrera, Ricardo
Doctoral Committee Chair(s)
Herrera, Ricardo
Committee Member(s)
Tilley, Michael
Ramirez, Carlos Roberto
Tsitsaros, Christos
Department of Study
School of Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D. (doctoral)
Date of Ingest
2026-05-12T14:00:05-05:00
Keyword(s)
Arabic Art Song
Arabic IPA
Iyad Kanaan
Arabic Transcription
Arabic Phonology
MSA
Language
eng
Abstract
This study examines Arabic Art Song through a focused case study on three of the vocal works of Iyad Kanaan, with particular focus on the International Phonetic Alphabet (IPA) transcription and performance practices. Despite the rich tradition of Arabic vocal music, scholarly engagement with Arabic Art Song, especially from a Western classical vocal framework, remains limited. This research seeks to bridge that gap by analyzing Kanaan’s compositions as a model for understanding the linguistic, stylistic, and interpretive dimensions of contemporary Arabic Art Song.
The study provides detailed IPA transcriptions of selected works, addressing challenges related to Arabic phonology, dialectal variation, vowel length, emphatic consonants, and syllabic stress. By aligning phonetic analysis with musical structure, the research highlights the interaction between text setting, Middle Eastern melodic language, and vocal technique. Additionally, performance considerations such as diction and stylistic authenticity are examined in relation to both Arab vocal traditions and Western classical training.
Through analytical, linguistic, and performance-based methodologies, this study contributes practical tools for singers and pedagogues while situating Kanaan’s work within the discourse of Arabic Art Song. Ultimately, it provides a framework for informed and stylistically
sensitive performance.
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