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Academic literature on the topic 'Musique – Interprétation – Pays arabes'
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Dissertations / Theses on the topic "Musique – Interprétation – Pays arabes"
Abdmouleh, 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
Husseini, Dima El. "Relations entre poésie et musique arabes du XXe siècle dans leurs rapports avec les influences occidentales : phénomène du tarab." Paris 4, 1999. http://www.theses.fr/1999PA040098.
Full textVigreux, Philippe. "La darbuka : histoire, organologie, ethnomusicologie d'un instrument de percussion." Paris 10, 1997. http://www.theses.fr/1997PA100120.
Full textFirst part: the earthenware goblet drums in the ancient world: central germany (chalcolithic period), ancient orient, palestine, anatolia, egypt, india, central america. High arabic middle-ages: the supposed ancestors (kabar, qar'a, dirrij); the darbuka in the texts. Position of islamic law towards percussion instruments. The etymology of the word drbkt / drbwkt. Second part: the goblet drums' line of development: some evolutionistic patterns. The sounding caracteristics of the goblet drums (an acoustic report). The making of the tabla in cairo (the pottery, the ornamentation, the skin). A typology of the extant shapes. Third part: the role of the darbuka in the family celebrations (birth, circoncision, weddings). The darbuka as a women's instrument. New steps of the darbuka into the high music of the cities and brotherhood music: the tunisian example. Technics and improvisation language: towards a definition (musical examples)
Ben, Abderrazak Mohamed. "Les orchestres arabes modernes influencés de l'organologie occidentale et les problèmes d'acculturation." Paris 4, 1999. http://www.theses.fr/1999PA040052.
Full textChakroun, Haythem. "Spatialisation de la musique et musicalisation de l'espace, du réel imaginaire au virtuel réel : nouvelle conceptualisation pour identifier le üd." Paris 4, 2004. http://www.theses.fr/2004PA040130.
Full textThis Thesis investigates a complex research problem linked to the existential difficulty of an Arabic musical instrument known as the û, an instrument which is in away of disparition. Modern critics suggest multiple hypotheses that often prove simply ideological or superficial. However, reality is beyond and more complicated. This instrument involves its own expression means, richness of ideas and imagination, and secret techniques. In addition, it presents a historical evolution structure that disembarked chaotically few centuries ago on a territory characterized by a critical identity and phenomenological situation, which refers to a real stagnation, disinterestedness and atony. Research and exploration of such a reality should systematically pass through a multidisciplinary grammar where the dialogue becomes the first key. In this sense, the monologue becomes meaningless. Spatialisation of music and musicalisation of space, from imaginary reality to real virtual : a coexistence /coincidence concept which proceeds from a strong interference between sound structures and structured spaces to reach a virtuosely virtual music. The virtual in this context basically depends on a real present. This technological virtual is a conscious strategy of the global representation and a new means of expression which is still experimental and hybrid but aiming the authenticity of the interpreter's gesture and of perception. The information originally produced, is treated in real-time by a musical data processing station, characterized by its abstract language. The interface is an integrated part of work-study. The result of the experience will no more be a stationary music but rather a "spatial music"
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
Ghrab, Anas. "Commentaire anonyme du Kitab al-adwar : édition critique, traduction et présentation des lectures arabes de l’œuvre de Ṣafī al-Dīn al-Urmawī." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040117/document.
Full textThis dissertation presents a critical edition and a French translation of an anonymous commentary on ?afi¯ al-Din al-Urmawi's Kitab al-adwar. Based on this commentary, I establish an inventory and revise the study of Arabic texts written in the tradition of al-Urmawi. For this purpose, I examine both principal works of ?afi¯ al-Din al-Urmawi face to face and observe the contributions of his readers and reviewers. The dissertation thus presents a detailed study of various themes~: the place of music as a medieval science; sound and its production; the divisions of the monochord; the theory and design of intervals, genres, cycles and modes; the theory of rythm; and the theory of melodic movement
Beyhom, Amine. "Systématique modale." Paris 4, 2003. https://hal.archives-ouvertes.fr/tel-01511710.
Full textModal systematics is a new theory of modal music based on a model inspired by maqâm theories of the 2Oth century: the author expands the quarter-tone representation of modal structure developed mainly by Erlanger (1930ies) and integrates it into a global combinatory theory which allows numerous theoretical projections. The intervals of modal music are considered to be approximate multiples of the quarter-tone interval, within a range from one semi-tone to one and a half tone. Specific studies of pentatonic and heptatonic systems are carried, and a general model of scale generation is proposed in the thesis; the model brings new explanations of some fundamentals of music, particularly concerning the constitution of pentatonic and heptatonic scales: synoptical tables of modal scales of Arabic music are included, allowing further exploration of maqâm structure; a number of intrinsic criteria of the building of the arabic scales, never described before in specialised literature (to the knowledge of the author), are discovered using the modal systematics method - this specific research uses a combined genre-scale approach allowed by the modal systematics theory. Complementary studies of the maqâm by the method emphasize the possibilities of traditional modulation and present new, alternative scales, for composers. The appendix proposes an exhaustive list of potential modal combinations of musical intervals (4795 modal scales), allowing a comparative study between different types of music. The theory of modal systematics still has many domains to explore, including specific characteristics of maqâm music and extensions to other musics of the world: it may be used in such various domains as ancient Greek music, Indian music or even music with less obvious connection to Arabic maqâm ; the model based on quarter-tone approximation can also be extended to 1/8 tone or any other integral division of the octave
Khoj, Adnan. "Le premier chanteur compositeur saoudien et du Golf arabe : Talal Maddah." Paris 1, 2008. http://www.theses.fr/2008PA010580.
Full textKhatib, Mohammed Al. "Sémiologie comparée de l'image en arabe et en français : enjeux didactiques." Grenoble 3, 2002. http://www.theses.fr/2002GRE39008.
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