other styles of music playing. Other schools of thought on improvisation music, in the Arab world, believe that improvisation music shows a lack of understanding in musical training. Racy does not specify which groups have what views. Rather, the discussion is more focused on the idea that the Arabic music world is not monolithic in its view on improvisation in music. Other groups view improvisation as only learned through trial and error taking many years to perfect thus being a style played professionals. Taqasim A respectable tradition in improvisation music is known as Taqasim. Taqasim music uses a maqam and improvises the form or structure of the song, which creates a cathartic experience for the listener. Further, the improvisation aspects go beyond the form and are expressed in the quartertones of the song. This tradition historically was performed as a chant. Now it is used by performers on the oud/ud, violin, or nay, a type of flute. This style of improvisation is known for the effects it can conjure from a listener. Listeners have been known to laugh, cry, and shout, all from different parts of the same performance due to the improvisation music aligning exactly to draw extreme emotion from someone. Improvisation in Chant A certain type of Arabic chant is in the melismatic style and is both long and highly ornamented. It has specific elements of free rhythm and improvisation as part of its structure. Syllabic chant is isochronic and is accompanied by an al-durbkkeh (a percussion instrument. drum.) while being relatively fast in its nature. There is usually participation from the listeners who contribute through the clapping of hands to the rhythm. Ethnomusicologist Jargy tells of another type of improvisation music in which he uses the name Median. This music is a combination of the syllabic chant and the melismatic style. Median improvisation music uses more extreme improvisation methods and expands the boundaries of improvisation and is usually faster than syllabic chant. The last improvisation style discussed by Jargy is the recitative style that is sung predominantly by women and is built on aural tradition. Genres Franco-Arabic Franco-Arabic music is a popular form of West-meets-East style of music, similar in many respects to modern Arabic Pop. This blend of western and eastern music was popularized by artists such as Dalida (Egypt), Sammy Clark (Lebanon), and Aldo from Australia. Although Franco-Arabic music includes many forms of cross-cultural blending