The instrumentation and music of the ‘arada bands that are ubiquitous in Damascus, Syria reflect diverse musical influences within the enduring framework of Turkish janissary bands (mehter). While the basic instrumentation and function of ‘arada bands are Ottoman in essence, Damascene bands perpetuate a sound that may be deemed Syrian (and specifically Damascene) through utilization of song forms and improvisation. In the vein of Jonathan Shannon’s modernity improvisation model, I demonstrate the ways that ‘arada practices shape and reflect perceived Damascene modernity through the vessel of tradition. Under the present political circumstances, Syrians are relying on cultural practices from al-turath (heritage) such as ‘arada to uphold and/or contest existing ideas of both self and the nation. I discuss how these bands contribute to a constructed and unifying “authentic” Arab identity through an exploration of the socio-cultural and nationalistic trends that have and are effecting contemporary ‘arada practice. The findings presented are a culmination of the research and data gathered through multiple on-site fieldwork trips, including a 9-month Fulbright residency in 2009/2010. This study provides an in-depth examination of Syrian ‘arada musical practices while offering perspectives on modernity and authenticity through the processes surrounding ‘arada bands in Syria today.