They Stole the Music Too?

Sources

1. [1]The Jewish Role in Iraqi Music — The Scribe: Journal of Babylonian Jewry (Issue 72) — Internet Archive snapshotHeritage journal of the Babylonian (Iraqi) Jewish community. Archived (HTTPS-safe) snapshot used because the live dangoor.com site has a broken HTTPS certificate. Documents that the 1932 Cairo Congress Iraqi delegation was entirely Jewish except the singer al-Qabbanji, that when Iraqi radio was founded in 1936 the whole instrumental ensemble except the percussionist was Jewish, and that Saleh al-Kuwaiti was asked to form the radio music ensemble and introduced the cello and nay. Independently corroborated by the Wikipedia 'Music of Iraq' and 'Saleh and Daoud Al-Kuwaity' articles below.
2. [2]Saleh and Daoud Al-Kuwaity — WikipediaSaleh considered the father of the modern Iraqi song (Iraqi maqam) and an early pioneer of Kuwaiti sawt; composed for Salima Murad/Pasha, Nazem al-Ghazali, Afifa Iskandar, Umm Kulthum and Mohammed Abdel Wahab; emigrated to Israel in 1951; Iraqi and Kuwaiti state radio kept broadcasting their music after the rupture while omitting the composers' names and Jewish identity.
3. [3]Music of Iraq — WikipediaIndependent corroboration that in 1936 Iraq Radio was established by the Jewish musicians Saleh and Daoud al-Kuwaity with an ensemble in which every player except the percussionist was Jewish, and that the radio ensemble used the nay-and-cello format — supporting the otherwise community-sourced cello/nay detail.
4. [4]The Greatness and Neglect of Iraq's Jewish Musicians — Auxsons (Zone Franche / world-music magazine)Confirms that the Iraqi instrumental delegation to the 1932 Cairo Congress of Arab Music was Jewish, with the singer Muhammad al-Qabbanji the notable Muslim exception, and surveys the central role of Jewish musicians in modern Iraqi music.
5. [5]Salah El Kuweiti — Jewish Music Research Centre, Hebrew University of JerusalemAcademic source confirming Saleh al-Kuwaiti headed the Iraqi broadcasting channel ensemble and programmed its music for several years, corroborating his leadership of the radio orchestra.
6. [6]Dawud Husni (1870-1937) — AMAR Foundation for Arab Music Archiving & ResearchDocuments Daoud Hosni's central role in early-20th-century Egyptian music: compositions for Umm Kulthum, Layla Murad, Asmahan and Zaki Murad, the 1906 Paris prize, the 1932 Cairo conference, his crediting with discovering Asmahan, and the first full opera composed in Arabic (Samson and Delilah).
7. [7]Hayrana Laih (on Daoud Hosni and Layla Murad) — Jewish Music Research Centre, Hebrew University of JerusalemAcademic source confirming Daoud Hosni was a Karaite Jew (David Hayyim Levy), a leading figure of modern Egyptian music with 500+ songs, and that he composed Hayrana Laih (1932) for the Egyptian Jewish singer Layla Murad, daughter of cantor-composer Zaki Murad.
8. [8]Cheikh Raymond: The Art of Constantine Malouf — Institut Europeen des Musiques Juives (European Institute of Jewish Music)Cheikh Raymond Leyris as the undisputed master of Constantine's Arab-Andalusian malouf; assassinated in 1961; his protege Gaston Ghrenassia became Enrico Macias.
9. [9]Cheikh Raymond — WikipediaConfirms Cheikh Raymond Leyris was respected by both Jews and Muslims (given the title 'Cheikh'), was a master of Constantine malouf, was assassinated on 22 June 1961, and that Gaston Ghrenassia (Enrico Macias) married his daughter Suzy — i.e. was his son-in-law, not his biological son.
10. [10]Messaoud El Mediouni (Saoud l'Oranais) — WikipediaSaoud l'Oranais as the Oran Andalusian master and teacher of Reinette l'Oranaise; deported and murdered in the gas chambers at the Sobibor extermination camp on 23 March 1943.
11. [11]Zohra El Fassia — Jewish Women's Archive, Shalvi/Hyman Encyclopedia of Jewish WomenMoroccan Jewish singer honored as cheikha/maalema (master) and a central figure of the malhun recording tradition; deemed 'the most renowned of Moroccan female vocalists'; sang frequently at the palace of King Mohammed V, who gifted her a dress; later emigrated to Israel. (Reachable in a normal browser; blocks automated fetchers.)
12. [12]Andalusian Nuba — Jewish Music Research Centre, Hebrew University of JerusalemOn the Andalusi nuba as a shared Arab-Jewish heritage; Jews adopted it into liturgy and paraliturgy (baqqashot, piyyutim), and some parts of the Andalusian tradition were preserved only through Jewish traditions.
13. [13]Discover the Mesmerizing Fusion of Arab and Jewish Music — Brandeis University, The Jewish Experience (2021)Mizrahi artists (Dudu Tassa re-recording the al-Kuwaitis' Iraqi songs; Neta Elkayam recovering Moroccan Jewish women's repertoire) reviving Arab-Jewish musical traditions; quotes Prof. Yuval Evri.