Wednesday, September 1, 2010

من فيض مشاعري



من فيض مشاعري

خالص عزمي
الأعظمية .. وذاك قرص الشمس يتحاور معها مودعا والصبية الذين ما زالوا يمرحون في ازقتها يلوحون لها وهي ترسل حرير خيوطها الذهبية ردا على تحيتهم

لقد تعود اطفال راس الحواش ؛ والسفينة ؛ والحارة ؛ وراغبة خاتون ؛ والنصة ؛ والشيوخ .........أن يحتفلوا باللعب ؛ والتقافز ؛ والصراخ احيانا ؛ بينما سماعات جامع ابي حنيفة النعمان تنقل حفل المولود النبوي الى ابناء الأعظمية وظيوفهم . اما العوائل القريبة من ساحل دجلة فقد اتخذت اماكنها على كورنيشها الهاديء من زاوية الجسر الخشبي القديم في محلة السفينة حتى نادي النداء الاجتماعي الذي لايبعد كثيرا عن المقبرة الملكية . بينما تتولى عوائل البيوت القائمة على ذلك الكتف الأنيس من تلك المحلة ؛ بتقديم ما يتناسب وكرم الظيافة الى ذلك الحشد من الأسر الزائرة التي تنصت بخشوع الى المنشدين وهم يصعدون أصواتهم عاليا بأشعار تمجد وتشيد بهذه السيرة العطرة . اما الطقس فرقيق المطلع ؛ ونث الشواطيء يزيده عذوبة وميسرة في الجلوس لساعات متأخرة ؛ ذلك أن الأمان والإطمئنان وصيغة اللقاء وما به من حميمية تضفي كلها على الحاضرين حالة من الرغبة الملحة بالتواصل مع تلك السويعات السخية بالود والهناءة .ا

في الأماسي القمرية الصيفية : تنطلق عادة زوارق الشباب بألوانها الزاهية من جسر الاعظمية حتى جسر الصرافية وبالعكس وعلى جنبات أكثرها هواة العزف وقراءة المقامات المناسبة : كالاوشار ؛ والبهيرزاوي ؛ والجمال ؛ والخنبات ؛ واللامي الخ في حين تكون ضفاف دجلة عامرة بالجراديغ التي تحتشد عندها موائد عشاق السهر والطرب والحوارات الأنيسة ؛ من الذين يتلقفون ما يجود به مغنو تلك الزوارق من فصيح الشعر و بعض الزهيريات : ليرددوا بعد تسليم المقام ما تنطلق به حناجرهم من بستات تتلائم وتلك المقامات مثل ( يازارع البزرنكوش ؛ وعسَنّك ؛ وعلى شواطي دجلة مر ؛ وغنية يا غنية ؛ ويانبعة الريحان ؛وخيه لوصي المار ؛ والليلة حلوه وجميله ... وغيرها )ا

لقد كانت الأعظمية موئلا لمختلف طوائف العراق وملله ونحله ؛ وقد سكنها عدد كبير من أعاظم الشخصيات البارزة آنذاك في الطب والأدب والفن والهندسة والقانون والعلوم والوعظ و أقطاب السياسة ( رؤساء وزراء ؛ ووزراء ؛ وسفراء ؛ وقادة احزاب ومحافظون وقضاة وغيرهم) ؛ بالاضافة الى انها كانت مصيفا يعتد به لكثير من العوائل التي لم يكن يطيب لها السفر الى مسافات بعيدة بغية الإصطياف ؛ لهذا كنت تجد في تلك الفترة الزمنية مقاهيها ونواديها تجمعا لعدد وفير من فئات النــــــــاس ( وعلى مختلف الأهواء والمشارب ) حيث تلتقي كلها في جو من المحبة وصفاء الروح . اما المجالس فقد كانت هي الأخرى ملتقى كبار رجال الفكر والأدب والشعر والفن والقانون ... الخ حيث تتلاقح بها الافكار وتنشد القصائد ؛ وتلقى المحاضرات وتتواصل المناقلة في الحوارت الهادئة وغيرها ؛ وعلى ذات المستوى ايضا كانت تقام معارض الفن التشكيلي لتتدفق بالوانها أو تزهو بمنحوتاتها وخزفها في اركان عدة من هذه المدينة الخلابة .كما كان للمسرح في بعض قاعات المدارس والمعاهد والنوادي الإجتماعية حضور واضح وتأثير مباشر على رواده الكثر

ومع ان أسواق الأعظمية على تلك الايام ؛ كانت بسيطة في مظهرها الا انها في ذات الوقت ؛ كانت غنية بموادها التي تعطي صورة حقيقية عن خيرها العميم ورخص اسعارها ؛ لذا فقد كنت ترى المتبضعين وهم يمثلون مختلف سكان المحلات وكأنهم في كرنفال عفوي لاتقف أمام تواصل عطاءه أية عوائق او موانع ؛ لقد كانت تلك اللقاءات قريبة جدا من صورة واقعية لتجمع اسري واحد

في الصباح الباكر ايضا ؛ ترى افواج التلاميذ والطلبة وهي تتوجه الى مدارسها او كلياتها او معاهدها ؛ ولم اشاهد طيلة مكوثي هناك ان أمّا راحت توصل طفلها الى مدرسته خوفا عليه مما قد يتربص له ؛ ذلك لان مثل هذا الخوف لم يكن له أساسا أصلا ؛وعليه فقد كان اعتماد الأطفال على أنفسهم مغروسا في طباعهم ؛ ولم يكن ذلك الاعتماد المباشر على النفس عفويا بل كان نتيجة للشعور بالأمان والإطمئنان

اما حديقة النعمان فمع كونها صغيرة بمساحتها ؛ الا انها كانت متنزها عامرا تملأ حواشيه واركانه العوائل عصرا مع كل متطلبات النزهة والترفيه الإجتماعي ؛كما كانت السينما الوحيدة المجاورة لها هي الاخرى موضع اقبال جمهرة من الناس على عروضها المتواصلة . اما النادي الاولمبي في ساحة عنتر والذي اشتهر بأبهته وأناقته وهيبته ؛ فقد كان موقعا متميزا من المواقع الرياضية والإجتماعية والترفيهيه ؛ وقد كان لأعضاءه دور هام في تفعيل الحركة الرياضية والثقافية والاجتماعية لا على مستوى مدينة الأعظمية وحسب بل على مستوى القطر بعامة .ا

لقد سقت تلك النبذة المتواضعة المشرقة ـــ وهي غيض من فيض ـــ لأنتقل منها الى عرض لقطات سيئة سجلتها عدسة الوقائع اليومية لما حل بالاعظمية ؛ تلك الزهرة اليانعة العطرة ؛ من لحظة نزول قوات الاحتلال الغاشم على تربة الوطن الغالي مرورا بمآسي السنوات السبع العجاف وحتى يومنا هذا :ا

جدران عازلة وفاصلة للمحلات والازقة والبيوت ؛ بطول خمس كيلو مترات وارتفاع ثلاث امتار ونصف المتر على الاقل .ا
إهمال كامل للمدينة ؛ حيث ترى الأزبال والنفايات مكدسة بشكل مقزز في الأزقة والطرق العامة .ا

إنقطاع كبير في التيار الكهربائي ؛ وتوقف المولدات الخاصة عن التغذية لنفاذ الوقود .ا

إنقطاع ماء الشرب عن البيوت لايام كثيرة دون اية معالجة فورية لذلك

منع التجوال اولا ؛ ومن ثم مداهمات واعتقالات عشوائية تطال الاسر كافة صباح ومساء

أعمال عنف مبرمجة و مدمرة تستهدف البيوت والمحلات ودور العبادة في مختلف بقاع الاعظمية .ا

تعمد أحداث نقص كبير في الأغذية والأدوية وفرض حصار يومي خانق بطرق واساليب مختلفة .ا

صعوبة التنقل من والى الأعظمية ؛ لإنقطاع المواصلات وتوقف وسائط النقل

إنهيار تام لأقسام الطواريء في المستشفيات والمراكز الصحية في الأعظمية والتوقف عن قبول الحالات المرضية العاجلة ؛ مما اضطر العيادات الخاصة كافة لاستقبال المراجعات الطارئة كخدمة انسانية لتلافي تلك الازمة الحادة .ا

ان كل حرف في هذه الكلمة ينزف ألما مدمى من فرط ما أصاب مشاعري من احباط غمره الحزن على ما حل بتلك المدينة الوديعة النبيلة المتسامحة من أذى وحشي مدمر؛ ولقد سبق لي ان أتيت على وصف لجزيئات من شروره في مقالين سابقين نشرا لي على نطاق واسع (+) .ا

ان الأعظمية التي عرفت بشكيمتها وعلو مكانتهاعلى المستويين التأريخي والمعاصر ؛ سوف تنفض ــ لاشك ــ عنها غبار الظلم الهمجي الذي أصابها ؛ وستعانق شمس الحرية ثانية ؛ كما فعلت في كل أدوار مسيرتها الشجاعة ا الشماء .ا
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(+ )
شارع عمر بن عبد العزيز ـ نشر بتاريخ 24/4 / 2006 ؛ ومحلة السفينة والاجتياح الاخيرنشر بتاريخ 17 /5 / 2006

Tuesday, July 27, 2010

Brilliant Cartoon on Capitalism

Since June 28, 2010 when the video clip was posted on Youtube, there have been more than 350, 000 viewers.

The video shows an interesting description of capitalism by David Harvey and
a brilliant cartoon techniques. . . I am Jealous -:):)

Wafaa' Al-Natheema









Tuesday, July 20, 2010

Outstanding From China - محمد القبنجي الصغير

A great seven-year old opera singer from China

This talented singer reminds us, Iraqis, of renowned maqam singer, Mohammed Al-Qubbanji

Parts of his singing resembles Arabic maqam singing, particularly that practiced in IRAQ


يذكرنا هذا المبدع الصيني بالمقامجي العراقي محمد القبنجي

أرجو مشاهدة الأغنية الى آخرها والإنتباه الى حركة يدي المغني ورأسه

والى مقاطع من أغنيته التي تماثل بعض المقامات العراقية





The Arabic Language

"Whether Arabic possesses all those merits which are being so bountifully bestowed upon it by its zealous defenders is a matter of personal bias and, to a certain degree, even an academic topic. What remains certain is that, in a way, it is a privileged language. It has lived for one millennium and a half essentially unchanged, usually gaining, never completely losing. Venus-like, it was born in a perfect state of beauty, and it has preserved that beauty in spite of all the hazards of history and all the corrosive forces of time. It is true that there was not always that Praxitelean limpidity of line about it. Figuratively speaking, it has known its Gothic, its Renaissance and its Baroque periods. It has known austerity, holy ecstasy and voluptuousness, bloom and decadence. It exuberated in times of splendor and persisted through times of adversity in a state of near-hibernation. But when it awoke again, it was the same language. The fact that Arabic long survived and still had the vitality to burgeon a new might be due to religious and social factors, but the quantitative ability to expand and the qualitative capacity to attain perfection and to maintain its essential characteristics are merits of the language exclusively."

Jaroslav Stetkevych, an emeritus professor of Arabic at the University of Chicago


Tuesday, September 16, 2008

Arabian Perfumes


by Sumaiya Ali

Something that captivates our mind, rejuvenates our senses and bestows a feeling of freshness and energy just through its aroma is Perfume. It also finds numerous depictions in the Hadiths of Prophet Mohammed (PBUH).

Born with spicy and herbal flavors, the Arab fragrance grew to discover the sweet flowery scents of Saffron and Rose. Further with the discovery of woody oils like Sandalwood and Agarwood (known as Dahnel Oudh) a tantalizing new era was begun. Since then the Arab perfume industry has evolved and made certain changes to accommodate the varying tastes of their clientele.


Syed Junaid Alam


Celebrated by the names of 'Junaid for Perfumes' and 'Attar Al Bahrain', Syed Junaid Alam WLL is the oldest and largest manufacturer of perfume in the GCC and has three perfumery units in Bahrain. Founded by Syed Junaid Alam the brand,which began as a small shop in the Manama souk at the beginning of the 20th century, has transformed itself into a scentsational trendsetter with more than 120 retail outlets spanning the Middle East, Pakistan, Turkey and with plans to spread out to North America and the Far East.

The brands of Junaid Perfumes are sold exclusively at its outlets and also include solid and oil perfumes, Bakhoor and Bridal Gift sets. Among the perfumes produced are Banafsaj Baadiah, Lamsat Dhahabiya and Fanan which is the first shimmer based perfume in the Gulf. “Apart from that we also have introduced gel based fragrances that not only appeal to the women of today but also to youngsters," says Mr. Hamad Fuad, Director Sales and Marketing.

"Each product is carefully developed that reflects its name and is in accord with its design, colors and aromatic characteristics, resulting in a distinctive brand," informs Mr. Hamad. Junaid Perfumes outlets in Bahrain can be found at Manama Souk, Bab Al Bahrain, Sheraton Mall, Riffa Souk, Isa town Mall, Seef Mall, Al Aali Complex, Muharraq Souk, Hamad Town Souk, Riffa Bukuwara, Sitra Mall and City Centre.


Reehat Al Atoor


Inspired by the Arabic culture on his arrival to the Kingdom of Bahrain, Mr. Rajesh Khanna set up Reehat Al Atoor in 1989 as a pastime which flourished into a family business over the past two decades. This perfume house, based in Salmabad, produces traditional as well as international scents and a combination of the two. These perfumes derived from the natural essences reflect the Arab culture and heritage from its flavor to the finished packaging. Maraya (meaning mirror in Arabic) is their latest French flavor and comes with a total mirrored finish.

With exclusive showrooms at Sheraton Complex, Dana Mall, Gold City and Riffa Bukuwara, Reehat Al Atoor has also been successful in unveiling its own line at the Bahrain Duty Free in 2001 and exporting its products to Russia in 2008. Every few months there are product launches and the company plans to set up a larger plant to satisfy the growing demand of its consumers. Newly appointed General Manger Mr. Shahnawaz, with extensive experience in the Business Expansion of Perfumery in the Middle East aims to increase the outlets in Bahrain to 10 by the end of the year and expand to the Gulf Council of Countries (GCC) over the next year.

The company owns more than 100 brand names and sells well-known perfumes as Oudh Al Mumlika, Turath, Dahne’l Oudh, Durrat Al Bahrain (Arab and Oriental), Déjà vu (French), Fidha (French) and Majmoo’athal Bahrain. Reehat Al Atoor also operates two Jeweler subsidiaries in Bahrain by names of ‘Jewel House’ and ‘Jaff Jewelers’ that specialize in Diamond Wedding Sets and Long earrings (Chandeliers). They also sell precious stones like Sapphire, Emeralds, Rubies and semi-precious stones like Amethyst, Topaz, Turquoise, Citrine etc.


Amouage


The House of Amouage was founded 25 years ago by the late Sayyid Hamad bin Hamoud Al Busaidi on the request of His Majesty Sultan Qaboos bin Said, the ruler of the Sultanate of Oman, to reflect the wonderful heritage and traditions of his country for creating the finest, exotic and unique perfumes and for giving them as gifts to honored guests. Traditionally offered by the Royal family and senior Government Ministers of Oman to heads of state during official visits Amouage also has a stellar following around the world including Royals, global leader and some of the most celebrated names in entertainment and sports.

The Amouage fragrances use a number of significant indigenous ingredients like the finest Silver Frankincense, which grows only in the Dhofar Mountains in Southern Oman. The incredibly rare Omani Rock Rose, which flowers for the briefest of periods each year in the mountains of Jebel Al Akdhar. The first Amouage fragrance was created by French Master perfumer Guy Robert who scoured the world for the finest ingredients, over 120 of which were used in his masterpiece ‘Amouage Gold’ which still is Amouage’s best selling fragrance.

Amouage currently includes fragrances, a Bath and Body Collection, an entirely new Home Collection of parfums d’ambience and the latest fragrances inspired by the Rose ‘Lyric Woman’ and ‘Lyric Man’.


Ajmal


Having been in the fragrance business for 56 years Ajmal was primarily based around Oudh and its varying uses within the realm of perfumery and its primary fragrance range consisted of mainly oriental concentrates. Sarah, launched in 1992, was the first product of its kind to successfully blend eastern and western elements together and is till date used as a benchmark in creating fusion blends. There are other classics like Dahn Al Oudh Moattaq, Dahn Oudh Al Shams to name but a few.

With over 100 outlets in the Middle East, Ajmal was amongst the first to successfully introduce Dahn Al Oudh and Mukhallat in a spray form in 1987. It was the only perfume company to be listed in the ‘Forbes Arabia Top 40 Arab Brands’ in 2007 and was placed at 23rd position. The verdict was based on consumer perception as well as the ability of the brands to adapt to the rapidly changing environment. Ajmal takes care of the environment and involves in human welfare too.

Outlets of Ajmal can be found at Seef Mall, Bahrain Mall, Sitra Mall, Gosi Complex, Bab Al Bahrain, Riffa, Muharraq Souk and through retailers like Carrefour, Lulu hypermarket and other major retailers within Bahrain.


Designer Shaik


Designer Shaik Inc. is a luxury brand company involved in the designing, outsourcing and production of its own high end fashion products that reflect the rich cultural heritage of Mystical Arabia. Established in 2002 the company has headquarters in Bahrain with a network of registered offices in North America, Europe and Asia headed by the CEO and Founder Mr. Mohammed Al Asfoor. It produces a line of perfume for both women and men, along with fashion accessories, jewellery and watches and mainly markets to the Middle East & Europe.

People buying a Designer Shaik product feel they are buying a piece of ancient mythical Arabia. The beautiful and sensuous fragrances include the Opulent and Chic range with the purest essential oils from France blended with exquisite elements from Arabia. These Arabian scents are hand made using the finest and rarest of ingredients

Designer Shaik has a range of perfume gifts by the name of ‘Jewellessence Blue’ which is a fusion of jewels and essences and the handcrafted elements make them artifacts to be cherished and admired for centuries to come. Designer Shaik perfumes are available at Bahrain Mall, Seef Mall, Bahrain Duty Free and Al Hawaj outlets.


Perfumes are known by ‘notes’ as in music: The Top, the Middle and the Base Notes. The top note is the one that is sensed immediately on application and the middle note is what remains when the top notes evaporate. On the disappearance of the middle notes what lingers is the Base note, which along with the middle note represents the core aroma of the juice. As a result it takes an approximate of 10 to 20 minutes to know the exact scent of the perfume.

Perfumers go an extra step in trying to emotionally connect with the wearer by distilling each kind of personality into a perfume. It is said and known that scent triggers memories, so how will you choose to be remembered?


Sumaiya Ali
is an Indian freelance writer and a chemical engineer living and working in Bahrain. She has freelanced for two issues of the Bahrain based magazine 'Woman This Month' in the September 2008 issue in which this article was published.
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Another short and interesting reading on Arabian Perfumes focusing on some Saudi Arabian perfumes written by Wafaa' Al-Natheema can be accessed here:

Thursday, July 3, 2008

Meeting with Actor Shammi Kapoor in Mumbai, India

After few phone calls, Mr. Kapoor and I fixed a day and place for our meeting: Friday, December 14 at 4 pm at the Taj Mahal Hotel. I think it was a mistake to meet at this hotel. It was far from where I was staying. I witnessed for the first time in my life, the worst traffic jam ever. When I completed the interview with dear Shammi and headed back to meet my friends, it took the taxi driver two hours and some minutes to arrive at the hotel where they waited to make it more convenient for me and closer from the Taj Mahal Hotel than Santoshi's apartment!!

Regardless of that, my meeting with Shammi Kapoor was the highlight of 2007 and the best thing that ever happened to me since the departure of my beloved father, Mahmoud, on July 24, 2006. Putting in mind that Shammi was one of three men, besides my dear (paternal) uncle, Dawood, and my father, who put a smile on my face and filled me with warmth as a young child growing up in Baghdad, IRAQ.

At the instance of his entrance to the hotel restaurant pushed on wheel chair, I ....

The story continues here:

http://mango-sari-sitar.blogspot.com/2008/06/meeting-shammi-kapoor-in-bombay-india.html

Tuesday, May 13, 2008

Subhi Anwar Rashid



Subhi Anwar Rashid
Iraqi Scholar


by Wafaa' Al-Natheema



The first time I heard about Subhi Anwar Rashid was from the late Allen Svoboda when he (Allen) used to live in Houston, Texas. We were talking about Iraqi maqaam music and he suggested that I read Subhi. A. Rashid’s book entitled, “al-alaat almosiqiyya almosahiba lilmaqaamil iraqi,” or “The Musical Instruments Accompanying Iraqi Maqaam,” which was published in Baghdad in 1989. Allen made a copy of the entire book and mailed it to me in 1991. At that time, I was researching history of music in general and of Arabic and Iraqi music in particular.

Rashid was to me the unknown scholar with whom I began my journey of music learning and with other scholars such as the British Henry George Farmer in 1991.

The second time was in 1995 when his name was mentioned to me as an excellent source for music history. Then thirteen years pass by and I see his name a third time at the library of congress. That was in January 2008 when I was researching for Arab women musicians in pre-and-post Islam. When I did the search in the library’s data, I got the following titles;

tareekhul mosiqa al-arabiyah,” or “The History of Arabic Music,” published by SKD Bavaria & Handel GMBH in Germany, 2000,
tareekhul Oud,” or “The History of Oud,” published by dar alaa addine in Damascus, Syria, 1999.
moujaz tareekh almosiqa wal ghinaa al-arabi,” or “The Summary of The History of Arabic Music and Singing,” published by dar ashu’oon athaqafiyya al-amma in Baghdad, Iraq, 2000.
madkhal Ilaa tareekh alghinaa,” or “Introduction to the History of Singing,” published by dar alaa addine in Damascus, 2000.

Unfortunately, I could not find the final book on the history of singing at the library of congress, which I needed for my research. This was one of the reasons that prompted me to contact him besides the fact that I saw his phone number and address listed in one of his books, which gave me an incentive to call him, along with finding a very interesting reading about the history of the word “Arab” in one of his books. I said to myself it is time to contact him.

After locating Subhi's number and phoning him, we agreed that I interview him on the phone. I began this habit of phone interviewing people after the death of my utterly missed father, Mahmood. I called few of his old-time friends (until I see them in person and hopefully interview them face to face) to learn about his past and theirs while working or studying with him.

Subhi Anwar Rashid was born in al-Athamiyya area of Baghdad in 1928. He began his music studies in 1950 at the Institute of Fine Arts, but did not complete it. Then earned a law degree from the University of Baghdad.

In 1963 he completed a Masters Degree in Archaeology at the Free University of Berlin and in 1966 he obtained his Ph.D. in archaeology from Frankfort University. While in Germany, he did an extensive research on history of music and has written many articles and books on the subject matter.

Between 1966 and 1983, Dr. Rashid held various positions; the Dean of the Institute for Music Studies, Director of the International Center for the Studies of Traditional Music and President of the Committee of Historic Studies in the Arab League’s Commission on Music. He retired on October 15, 1983.

From my phone interview with him, I learned that after obtaining the Ph.D., he returned to Baghdad in 1966 and became the director of the National Museum of Baghdad and was simultaneously lecturing on history of music at Baghdad University.

According to him, the most important book he had written was, “tareekh almosiqa al-arabiya, assullam almosiqi, al-iqaa wal alaat,” or “The History of Arabic Music - The Musical Scale, Rhythm and Instruments,” which was published in 2000 in Germany.

During the interview, Rashid mentioned his first published book in Arabic,
tareekh al-alaat almosiqiyya fil iraq alqadeem,” or “History of Music Instruments in Ancient IRAQ,” published in Beirut in 1970. Later in 1975, he published in Baghdad a book entitled, “al-alaat almosiqiyya – al-usoor al-islamiyya,” or “Music Instruments – Islamic eras,” and “almosiqa fil iraq alqadeem,” or “The Music in Ancient Iraq” in Baghdad in 1980.

Subhi Rashid began writing and publishing in German language before publishing in Arabic. His first published series by UNISCO was a collection of images on the history of music in Mesopotamia. It was published in 1984 in Leipzig and was translated to Japanese language in 1985. Later, he participated in a well-known German series, Handbook of Musicology in 1989.

Subhi left Iraq for Germany on July 12, 1990 accompanying his German wife, son and two daughters. He then taught one semester at Leipzig University and continued researching and publishing articles and books as well as participating annually in the Arabic Music Symposium at Cairo.

Our edited phone interview can be viewed here in Arabic language with some English translation of what was being said by S. A. Rashid as well an English description on the right side of the youtube screen:



Note 1: The definition of “Maqaam” is an intervallic relation of tunes within a fixed order. In singing, it has its rules with regard to the kind of lyrics each maqam is required to include as well as a structure of how it should begin and end.


Note 2: I use a different system of English transliteration of Arabic. So if you are searching for the books mentioned above, you may find them with slightly to significantly different transliteration.

Note 3: The Publications of Dr. Subhi Anwar Rashid in German Language:


Books

1. Mesopotamien. Musikgeschichte in Bildern, Bd. II, Leipzig 1984.
2. Die Musik der Keilschriftkultur. Neues Handbuch der Musikwissenschaft. Bd. 1, Die Musik des Altertums, Laaber-Verlag 1989.

Journal Articels

1. Neue akkadische Leierdarstellungen und ihre Bedeutung für die mesopotamische Musikgeschichte. Sumer, Journal of Archaeology in Iraq. Vol. XXIII, 1967 No. 7 II.
2. Zur Datierung der mesopotamischen Trommeln und Becken. Zeitschrift für Assyriologie und vorderasiatische Archäologie, Bd. 61, Berlin 1971.
3. Umdatierung einiger Terrakottenreliefs. Bagdader Mitteilungen, Band 6, 1973.
4. Untersuchung zum Musikinstrumenten Assyrien. Beiträge zur Kulturgeschichte Vorderasiens. Festschrift für Rainer Michael Boehmer, Verlag Philipp vom Zabern. Mainz 1995.
5. Mesopotamische Musikinstrumente im Spiegel der Glyptik. Altertumskunde des Vorderen Orients. Band 7 (Vom Halys zum Euphrat), Ugarit Verlag Münster.
6. Bedeutung und Ursprung der Laute. Damazener Mitteilungen Band 13, Verlag Philipp von Zabern. Mainz 2001.