Tell us a bit about yourself. Where did you grow up?
I am a composer, oud player and doctoral researcher from Tel Aviv, Israel. I grew up in a musical family and was exposed from an early age to both Middle Eastern and Western music, which continue to shape my artistic and academic work today.
How did you first become interested in Arabic classical music and the oud?
My interest began in childhood when my father gave me my first oud. Through the instrument, I discovered the depth and beauty of Arabic classical music, especially its modal system, improvisational practices and expressive nuances. Over time, this became both my artistic language and my field of research.
Tell us more about your research.
My doctoral research seeks to develop a new theoretical and compositional framework, which I call “The Expanded Maqam”. Emerging from the tradition of Arabic classical music, this framework aims to expand the possibilities of the maqam within contemporary art music. The project is based on the idea that the maqam is a sophisticated modal system with its own internal logic, one that historically developed primarily through melodic and horizontal processes. Drawing inspiration from the heterophonic textures that characterize much of Arabic classical performance practice, my research investigates how a new vertical dimension can be derived from the maqam’s internal principles without relying on harmonic models inherited from the Western tradition. By combining musicological research with composition, I explore new ways of extending maqam-based musical thought while remaining rooted in its aesthetic and structural foundations.
How has your experience been at the University of Haifa?
My experience at the University of Haifa has been extremely rewarding. The university provides an environment that encourages interdisciplinary thinking and allows me to combine academic research with artistic practice in a meaningful way.
How has the University supported you in your journey?
The University of Haifa has provided me with a supportive and intellectually stimulating environment that encourages both artistic innovation and rigorous academic research. Through the guidance of dedicated faculty members and access to excellent academic resources, I have been able to develop my doctoral project on “The Expanded Maqam”,
a new theoretical and compositional framework rooted in Arabic classical music.
The University has also recognized my work through the Prof. Emeritus Robert Elbaz Scholarship for Outstanding Doctoral Students, which has allowed me to further dedicate myself to my research and artistic development.
What are the next steps in your doctoral research?
The next stage involves further analytical work on heterophonic practices, expanding my theoretical framework, and applying my findings through new compositions that draw directly on Arabic classical performance traditions. Ultimately, I hope to contribute both to music scholarship and to contemporary compositional practice.
What would you like an American audience to know about your work?
I would like audiences to see Middle Eastern classical music not only as a historical tradition, but as a living and evolving art form with great relevance today. My work seeks to build connections between cultures and musical traditions, demonstrating how dialogue between different musical worlds can generate new artistic possibilities while remaining deeply rooted in tradition.
