Dissertations / Theses on the topic 'Musique arabe – analyse'
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Mansour, Rym. "L'utilisation du piano dans la musique arabe du XXème siècle : organologie et analyse." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2093.
Full textArabic music is characterized by a rich modal diversity. For its quarter tones included in several modes, ornamentation made while playing special stamps, its execution becomes a kind of disability forced by its particular modes that are often outside the tempered musical system. This does not preclude the presence and use of piano in arabic music whether in accompaniment (instrumental or vocal) in a group or arabic "takht" or even solo. This issue was addressed more comprehensively. The study of the relationship between West and East is a challenge to list the details of a very broad and multidisciplinary acculturation (music, theater, film, social, political ...) In several books and several research projects, musical interaction between these two worlds has been treated in general. Therefore, we find that specific and targeted treatment of our research is presented in the study of the insertion of the piano in the Arab civilization at first and then in arabic music. The merger between an icon of the West and a music modal character, even ethnic, is impressive which brings us to treat this phenomenon in a thesis
Elloumi, Sami. "Le premier mouvement de Jadal de Marcel Khalifé : un exemple de dialogisme et de dialectique dans une production arabe contemporaine." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080035.
Full textThe present thesis stems from an analytical study of the musical work of the contemporary Lebanese composer Marcel Khalifé. The great emphasis is on an instrumental quartet called Jadal. The material of our research is recorded throughout two main parts: the first consists in a biographical and aesthetic approach of the work; the second lends itself further to a musical analysis of Jadal. After a introductory chapter which initiates it in favour of the retrospective of the homeland and prior life experiences of Khalifé, the first part is inclined to an appreciative presentation of the work before moving forward towards updating the aesthetic issues of Jadal. The second part follows up the study of Jadal through the previously made analysis of the first movement. Participating firstly with a formal study of the two main genres – Sonate and Bashraf – coming into play in the genesis of the first movement, the analysis will then consist in a general synthesis of the elements through which proceeds in occurrence the writing of the three constituent parts of the first movement. A last chapter concludes the thesis by raising, in addition to the way Jadal proceeds as a conclusive management of the dialogic category, the stylistics of composition in the work of Khalifé
Sakli, Mourad. "La chanson tunisienne, analyse technique et approche sociologique." Paris 4, 1995. http://www.theses.fr/1994PA040178.
Full textAbdmouleh, Nabil. "La tradition du nây arabe : les deux maîtres : Amîn al-Buzarî et 'Alî al-Darwîsh." Paris 8, 2006. http://www.theses.fr/2006PA082685.
Full textThis research is essentially devoted to the life and the work of the two great masters of the nây (reed flute used in the great music of the syrian-egyptian school) : Amîn al-Buzarî and al-Shaykh ‘Alî al-Darwîsh. These two characters were the disciples of Turkish masters and the innovators of an exceptional style of playing of this instrument. A large part of this research is given over to the analysis of the work of these 2 masters of the Arab nây, the analysis of their virtuoso playing technique, that of their style in interpreting the traditional repertoire after transcription of their taqsîm (improvisation) as well aw the instrumental pieces they engraved for several disc companies. One part of this research will also be devoted to the organologic study of the nây (its history, its morphology, its functioning principles and its playing technique). We dedicated a long chapter to different types of nây and to maqâm-s (modes) which can be played with those instruments. The organologic part will be preceded by a survey on the egyptian musical universe by the end of the 19th century. We will tackle the Egyptian scholar music since the start of the reign of Khedive Ismâ‘îl as well as the sacred aspect of the nây in the Mawlawiyya brotherhood. We put the stress on the instrumental forms and speeches of takht and its instruments as well as the modal system proper to the egyptian music
Mohammad, Salah. "L'organisation mélodique et rythmique des Maqamat irakiens." Paris 4, 1986. http://www.theses.fr/1986PA040121.
Full textThis research aims at studying and analyzing the Iraqi maqam, and at presenting it as the most perfect, the most complete form in oral music of the musical heritage from Irak. In a first part, it sets out: the definition of the Iraqi maqam, its origin, its social background and the composition of its concerts and of its orchestra. This orchestra is composed of a singer and four musicians who respectively play the santur, the joza, the tabla, the riq and the naqqara. It also presents the schools of "masters" in Iraqi maqam (the singers and the musicians). Those schools developed for 6 generations (1775-1985). Then, we analyzed the tetrachords and the mods which are the constituent elements of Arab music as a whole and of Iraqi maqam in particular. We've classified these tetrachords in three groups (diatonic, chromatic and unharmonic) and these mods in six groups (rast, bayat, nahawand, kurd, 'ajam and one group for those out of classification). This melodic analysis is completed by that of the rhythms accompanying the performance of the Iraqi maqamat and that of the songs which complete them. In the last part, we've analyzed six main maqamat (rast, bayat, nahawand, saba, hujaz-diwan and 'awj); our analysis is founded on five basic elements (the mode, the successive constitutive notes, the melody process, the notation and the principal types of ornamentation of the singer). We joined an analytic list including all the Iraqi maqamat. In this study, we've presented the melodic and rhythmic organization of the Iraqi maqamat, laying the accent on the technical aspect of this music and not the historical one
Trabelsi, Mehdi. "La musique populaire arabe dans l'oeuvre de Béla Bartok : analyse de l'oeuvre ethnomusicologie et son impact sur l'oeuvre créatrice." Paris 4, 2002. http://www.theses.fr/2002PA040226.
Full textThis thesis analyses the Bela Bartok ethnomusicological essays which deal with Algerian folk music and shows their impact on his creative work. The Bartok Algerian essays have been published after he returned from his Algerian journey in 1913, during which he has recorded on a phonograph a collection of folk songs from Biskra district. In order to support our thesis we have transcribed these sonorous records which are archived at "Bartok archivum" in Budapest. Our thesis consists of three parts: - The first part treats the contact of Bela bartok with the Arab music: we compare his Algerian essays with other works realised on folk music with Arab tradition. We will describe the Bartok journey in Algeria and his participation to the first Congress on Arab music, held in Cairo in 1932. The second part is devoted to the analysis of the Bartok Algerian essays and deals mainly with the melodic and rhythmic system of the Biskra district music. The third part treats the impact of the Algerian folk music on the creative work of Bela Bartok
Al-Nabulsl, Waël. "La Catégorisation des échelles dans la musique arabe du Machreq au 20ème siècle : « Approche théorique et épistémologique »." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040004.
Full textThis research aims at presenting the outlines of the theories which have tried to collect and to categorize the scales in the Arabic music of the Mashreq since the beginning of the 20th century till nowadays.Moreover, the research divides the theories of the categorization of the Arabic musical scales of the Mashreq into two doctrines: the « actual theories » and the theory of Muhammad SALÂH AL-DÎN.The research also compares these two theories by presenting their points of difference and those of convergence.Besides, this research comes up with a new approach of the categorization of the scales in the Arabic music of the Mashreq. This new approach is principally based on the principles of “the periodicity of scales”.Moreover, this research discusses les questions relative to the subject of the key-signatures with the quarter-tones
El, Didi Amer. "Système modal arabe levantin du XIVe au XVIIIe siècle : étude historique, systémique et sémiotique, éditions critiques et traductions des manuscrits." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040006.
Full textFar from being exhaustive, this thesis presents a first attempt to a more cohesive and comprehensive understanding of the Arab modal system of a period of time spanning about five centuries. One aim of this research is, following Amnon Shiloah, "to leave once and for all, the legend of lethargy" and remove the clause of "stagnation" and "dark ages" long attached to this epoch. It appears through the pages of this research that the modal system never lost its liveliness. On the contrary, historical, philological, systemic and semiotic studies conducted during this thesis show the presence of a thread that binds, from one end to the other, the tradition of the thirteenth century to that of the nineteenth century
El, Afrit Khadija. "Étude de deux ţbū` tunisiens : le nūā et le mħaīyar sika." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040024.
Full textThis research proposes a reflection on the possibilities to conceive an analytical procedure adapted to musical works based on the system of ţba‛; it deals mainly with two Tunisian ţbū‛, nūā and mħaīyar sika, considered through the nūba repertody. The aim is to differentiate two ţbū‛ sharing some elements of their scale. The analysis of these ţbū‛ is based on the paradigmatic method, envisaged in a motivic conception, and on a procedure of musical reduction inspired by Schenkerian theory. The research consists in three main parts: the first devoted to a comparative analysis of the main final motives; the second analyses and compares secondary final motives, and the third deals with initial motives.The thesis concludes in two parts: the first synthesizes and comments the results of the analysis, and the second discusses the validity of the analytical procedures
Makhlouf, Hamdi. "Le ‘ūd de concert. Problématique organologique, espace compositionnel et modélisation sémiotique." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040164.
Full textThis thesis is a reflection on the concert ‘ūd (Arab-easternlute). It is designed as a concept emphasizing a correlation betweenits historical and organological evolution, the compositional thought development of ‘ūdists (lutenists) on the one hand, andthe testing of a representation of that thought through a semiotic model, on the other hand. The historical approach focusedon the construction of the instrument and revealed the primacy of the Iraqi and Turkish ‘ūds as preferred models of theconcert ‘ūd. This preference is linked to the development of contemporary ‘ūdist’s musical thought and their compositionaland interpretative practice. Through ananalytical study of five musical works for this instrument, this practice is regarded as acompositional space of an emerging inter-relationship between three spaces : a listening space, a formal space and a semanticone. The spatial approach to music of the concert ‘ūd, the evolution of its forms and ‘ūd players interpretative variations havecalled for reflection on the performance of this music. The semiotic modeling of an analysed excerpt (2nd movement ofNaseer Shamma’s composition, l’Amiriyya) is placed here as an alternative to traditional transcription by creating a graphic”area” inspired by notation models in contemporary music and provided for the criteria of the ‘ūdist’s compositional space
Bedoui, Saleheddine. "La chanson populaire phonographique dans le monde arabe : évolution et problématiques identitaires. Étude de cas entre 2000 et 2010." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL182.
Full textBy the late 1970s, the musical landscape in the Arab world has undergone major changes that have disrupted musical practices in Egypt and elsewhere: the main musical figures like Om Kalthoum (1904-1975) and ‘Abdelhalim Hafedh (1929-1977) are beginning to disappear. New technologies for recording (multitrack recording) and broadcasting (cassette) music are entering the market. Cultural guarding product of a state monopoly begins to collapse. A new generation of artists breaks ties with the previous one and asserts itself on the Arab musical market. Today, four decades later, there is still no musicological study that looks at these transformations. One finds only a sentimental journalistic discourse, nostalgic of a “golden age”, attacking new productions and their dangers for Arab musical identity. Through an examination of a body of ten artists like Angham, Nancy ‘Ajram, ‘Amr Diab and Kadhem es-Saher, over a period stretching from 2000 to 2010, this research confronts contemporary popular music in the Arab world with the elements of an Arab musical identity defined by early and mid-twentieth century musical practice
El, Achcar Elie. "L'évolution stylistique de l’art égyptien du taqsīm au qānūn entre Muḥammad al-‘Aqqād (1849-1930) et Muḥammad ‘Abduh Ṣāliḥ (1912-1970) : étude organologique et analyse musicale." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040197.
Full textThis research, which uses historical, organological and analytical approaches, is solely concentrated on a musical instrument and two of its masters. The qānūn is a traditional chordophone where strings are plucked; it is the base of the instrumental ensemble called takht which is inherent to the musical artistic tradition of the Mashriq during the Nahḍa period (Arabic Renaissance 1898-1939). Subjected to many organological changes during this period, and subjected to many transformations in the musical grammar with respect to acculturation and modernism between the two wars, the improvisational instrumental style, known as qānūn taqsīm saw a significant evolution. The latter is studied in this thesis, bearing in mind the historical and systematic organology of the instrument, the performance mode, the history of this musical tradition, as well as relying upon the analysis of transcriptions of recorded examples of 78 RPM of the two great masters of the instrument: Muḥammad al- ‘Aqqād (1849-1930) and Muḥammad ‘Abduh Ṣāliḥ (1912-1970)
Chabrier, Jean-Claude C. "Analyses de musiques traditionnelles." Paris 4, 1995. http://www.theses.fr/1994PA040335.
Full textAnalyses conclude forty years of research from Danube to Ganges, mostly in middle-east, twenty years of analysis & ten years teaching at sorbonne. Amongst one cubic meter of recordings & twenty five thousand slides, it selects two hundred analyses of modal musics from countries referring to the mediaeval lute-od: turkey, Arab countries, Azerbaijan, Iraq, Iran, Christian & Kurdish minorities in upper-Mesopotamia or around. - Preamble describes topic & methods of identification & of representation. -part. 1. Identification of acoustic systems from antiquity to modern Arab, Turkish & Iranian theories through mediaeval treatises (Farabi, Avicenna). -part. 2. Identification of scalar & modal systems explains confrontations transpositions between different systems & pitches (Arab- Iranian- Turkish). -part. 3. Identification of instrumental systems studies od, Turkish tanbur, middle-eastern buzuq, qanun, santur, nay-ney, Iraqi joza & Bagdad calghi. -part. 4. Melodic-morphological representation (through linear graphs) of interethnic musics: shur, husayni, dasht modes between Caucasus, Iran & Iraq. -part 5. Modal-structural representation (diagrams & staves). Very precise analysis of arabesques playing middle-eastern lutenists & soloists. -part. 6. Representation according to the od instrumental language of Iraqi maqam-s
Zouari, Mohamed Zied. "Évolution du langage musical de l’istikhbâr en Tunisie au XXe siècle : une approche analytique musico-empirique." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040028.
Full textThis thesis exposes a reflection on the musical language‘s mutation in instrumental improvisation called istikhbâr in Tunisia through the XXth century. One of the reasons which are at the origin of this mutation is the theorization of Tunisian music taken place at the Cairo’s congress in 1932. The most compelling aspect of this congress is to adopt a musical scale consisting of twenty four equally spaced octave notes, obtained by subdividing each interval of a semitone into two quarter-tones. This manuscript treats particularly the evolution of musical scales and the behavior of their degrees by the time while measuring the impact of this new theory. It is also interested in analyzing the properties of the melodic path and syntagmatic in order to elucidate the characteristics of each period. These elements emerged by the application of an empirical analytic method applied in three instrumental improvisations A, B and C, respectively played in 1926, 1963 and 1990
Zouari, Hend. "Les ornementations dans le ıba’ raıt el dhil : l’exemple du Congrès du Caire de 1932." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040276.
Full textThe originality of Arabic music is due to its melodic and rhythmic richness, inheritedfrom many influences. However, the particulars of its oral mode of transmission, as well asthe intensive and recurrent usage of improvisation, render any classification and any archivingdifficult, as indispensable as they may be for the conservation of this cultural patrimony.Attempts at musical transcription resulted in excessive simplifications, or recorded onlyone single version, up to the point of sacrificing melodic nuances and other technical finessesspecific to this music. It appeared therefore necessary to try another solution that wouldallow safeguarding this music in writing, while preserving its specificities. On the basis of amemorable work in the history of Arabic music, the nūba raıt el dhil as presented by theTunisian delegation at the Cairo congress of 1932, we propose an original and novel systemof codification, writing down on the one hand the melodic framework resulting from areduction process and on the other hand the ornaments, in abridged form, as applied to thisreduced melody. This notation will allow transcribing all the subtleties of traditional orimprovised works, giving back to the performers their freedom of improvising, whileallowing them to refer to a simplified score more faithful to the original work
Chabrier, Jean-Claude C. "Analyses de musiques traditionnelles : identification de systèmes acoustiques, scalaires, modaux & instrumentaux : représentation morpho-mélodique, structuro-modale & du langage instrumental." Paris (213 Av. de Versailles, 75016) : Arabesques, 1996. http://catalogue.bnf.fr/ark:/12148/cb371718879.
Full textBen, Moussa Syrine. "Convergences et divergences des ţubūˁ à travers le Maghreb : Cas des Aşbaˁayn tunisien, Zīdāne algérien et Hijāz al-Kabīr marocain : étude analytique et comparative." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040124.
Full textThe Arab-Andalusian music has been the object of an abundant literature from the second half of the 19th century: at first, through an Orientalist perspective fed by a spirit of curiosity in search of exoticism, then through transcription attempts and musicological research focused on the study and the classification of the corpuses. Fruit of a long common gestation, the Arab-Andalusian repertoires are influenced by exogenous and endogenous fluctuations. Unfortunately, the comparative approach of the variants from the Maghreb and the thorough analysis of musical scales remain little explored. This thesis proposes an analytical and comparative study of three North African ţubū, with equivalent scales: Tunisian Aşbaˁayn, Algerian Zīdāne and the Moroccan Hijāz al-Kabīr. The identification of melodic behaviors inherent to the three corpuses is reached by the combination of several analytical approaches. The statistical processing of melodies (occurrences, notes duration, internal finales, and fundamental degrees) will be followed by a paradigmatic analysis based on conclusive patterns. An empirical study, based on the interpretation of frequency measurements, will allow us to compare intervals ratios and the variation margin of note pitches. The first part deals with a diachronic approach demonstrating, on the one hand, the dynamic character of the studied directories and on the other side, justifying certain differences and convergences deduced from the various analysis
Slama, Khaled. "Le répertoire musical sérieux ou religieux (Maluf al-Jidd ou Kalam al-Jidd) en Tunisie : analyse technique et approche sociologique." Paris 4, 1999. http://www.theses.fr/1998PA040220.
Full textAbdalla, Tarek. "L'art du 'ūd égyptien, de l'organologie à la performance : la virtuosité traditionnelle et son évolution à l'aune du 78 tours." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2076.
Full textThe autonomy of Arabic instrumental art and, in particular, the development of improvisational from (taqsīm) on the 'ūd, were concomitant with the advent of 78 rpm recordings in Egypt (1903), as represented by the recordings of Sayyid as-Suwaysī. Yet, the apogee of this art will wait until the 1920s, with the novelties brought to its practice by Muḥammad al-Qaṣabgī, dubbed Sultan of 'Ūd. The emergence of 78 rpm recordings is anticipated by a real musical renaissance, led by genius musicians attached to the court of Ismā‘īl Pasha and his successors. The development of the instrumental counterpart of this school (called the Nahḏa) which is closely related to 'ūd, is linked in particular to the appearance during the last third of the 19th century of a new model of this instrument. The geometric characteristics of this innovative model (size, ratio between length of the vibrating string and the neck length) clearly distinguish it from its predecessor as described by both Western (Villoteau, Lane, Fetis) and Oriental authors (Maššāqa et al-Jundī). Moreover, during the period 1902-1904, several Egyptian theorists expressed explicitly their appreciation of this instrument and presented it as an update of the Abbasid Arab modal theory, conceived according to the ūd's fingering, and its application to the large Egyptian ‘ūd. In so doing, they affirmed the importance of the instrument in theory, performance and education. This thesis aims at studying the evolution of traditional virtuosity related to the medieval notion of haḍaq (linked to artistic perfection) within the Arab musical legacy through the analysis of development of musical forms, tuning, and techniques. This examination begins with an organological and acoustic study of the different models used in the recordings of the early era (1904-1937) as an external criterion. It continues with the segmentation of performed sentences, based on internal criteria, related to Arabic poetic metrics, instrumental technique and the configuration of musical discourse. The study ends with a modal semiotic medialization
Feki, Soufiane. "Musicologie, sémiologie ou éthnomusicologie : quel cadre épistémologique, quelles méthodes pour l'analyse des musiques du maqâm ? : éléments de réponse à travers l'analyse de quatre taqsîms." Paris 4, 2006. http://www.theses.fr/2006PA040099.
Full textThroughout this thesis, the author proposes a reflection on the possibilities to conceive an analytic language appropriate to the music of the maqâm. Indeed, studies on the musical repertoires associated with the maqâm as a musical system suffer from a lack of systematicity. One can notice there the preponderance of a descriptive, historiographical and anthropological work to the detriment of the analytic study that would take, as a starting point, the structures of music. This research paper includes two parts. The first part is devoted to problems of terminology and typology, notably in ethnomusicology. Questions of methodology related to the survey of the musical phenomenon in general are highlighted, as well. It also tackles the semiological aspects of the maqâm being a musical concept that carries a great deal of symbolic value. This first part constitutes a theoretical foundation for the second part that is centered on the analysis of four taqsîms (improvisations) in the nahāwand maqâm. The analysis of these taqsîms is based on a paradigmatic method as well as on the abstract formal and structural diagrams. This analytic approach attempts to discover, in every taqsîms, the systematic elements that have to do with the identity of the maqâm in order to separate them from the imperatives relative to the taqsîm form as well as stylistic parameters. This analytic work ends by a general synthesis that attempts to measure the efficiency of analysis method in question and to put hypotheses concerning the underlying system of the maqâm and the foundations of the taqsîm form