Arab Andalusian Music
| Arab-Andalusian music | |
| Cultural backgrounds | Early thirteenth century in  Spain |
|---|---|
| Instrument (s) typical (s) | Oud , Rabab , Violin , Nay , qann , Riqq , Darbuka , naqarat. |
| Popularity | Art music throughout the Maghreb. |
| Genre (s) derivative (s) | San'a , gharnati , Malouf |
| Genre (s) associated with (s) | Houze , melhoun |
| Regional scenes | Algiers , Constantine , Fez , Tlemcen and the whole Maghreb. |
The Arab-Andalusian music ( Arabic : ), also called or in Morocco , or in Algeria , in Tunisia and Libya is a musical genre profane , classical or learned , the Maghreb , distinct from the Arab music classical practiced in the Middle East (or Mashreq ) and Egypt.
She is the heir to the Christian music practiced in Spain and Portugal before the Conquest, the Afro-Berber North Africa and the Arab musical tradition transmitted to the ninth century in Baghdad (then capital of the Abbasids ) to Cordoba and Granada thanks to Abou El Hassan bin Ali Nafiq or Ziriab , brilliant musician who created the foundation at the time, composing thousands of songs and establishing cycle noubat , composed of poetic forms such as muwashshah or zadjal (which were one of the sources of the Cantigas de Santa Maria of King Alfonso X of Castile , the flamenco and the troubadours ). This music will also have an influence on contemporary Western music, including works by Camille Saint-Saens to its contacts with Algerian musicians, such as Mohamed Sfindja :
- Granada (at Tlemcen and Oran in Algeria Nedroma - Rabat and Sal , Oujda , Tangier , Tetouan . in Morocco )
- Cordoba and Valencia (in Algiers , in Algeria Blida and Bejaia - Fez and Meknes in Morocco )
- Seville ( Constantine and Annaba in Algeria - Tripoli in Libya - Kairouan and Testour in Tunisia )
The centers of Maghreb Andalusian music transferred the know-how to other cities Maghreb.Il be noted that in one city could coexist several styles of Arab-Andalusian music.
There are two schools of Granada : the thirteenth to the fifteenth century, they compete with the styles of Cordoba , Seville and Valencia , in the fifteenth century , when Arab Muslims retreated they inherit from their repertoires. According to Al-Tifsh , Tunisian scholar XIII century , the Andalusian musical poles would rather: Cordoba , Zaragoza and Murcia.
Implantation Maghreb has increased with the Moors and Jews Sephardim expelled from the Andalucia became Catholic in 1492 during the Reconquista arriving en masse to North African territory.
The Arab-Andalusian music, although based on very strict rules, is a non-written music is transmitted orally from master to student. Long before the fall of Granada, many musicians Muslims had retreated to North Africa. The Arab-Andalusian musical tradition developed there until today, especially in cities that have hosted the Andalusian refugees (see references and external links).
There is a difference between the Nuba "oriental" elements impregnated with Turkish, Persian and even Byzantine, and the Nuba "Western", which itself has remained intact, as it existed in the Middle Ages. Several centuries of Ottoman presence in parts of North Africa have not altered some schools of music known as Andalusia .
It was not until the eighteenth century as the Tetouan corpus written by Muhammad ibn al-Hasan al-Hayik appear, raising the threat poetic repertoire.
The beginning of the twentieth century will see him through a systematic collection of musical transcriptions and the organization of international conferences held in Cairo and Fez. Other conferences will follow.
Summary |
Music System
The Arab-Andalusian music is composed around a 24 noubat original, of which only half remain and are unchanged. They are based largely on patterns Byzantine, Persian and Arabic. Many names are still in tune with their origins: Isfahan, Iraq, Hijaz, Mashriq etc. These 24 noubat (for each hour of day) were performed on 24 modes, each corresponding to one hour of 24 that includes a day (system similar to raga of India). Each shindig is composed of a series of musical movements fixed alternating instrumental and poetic. There is no single directory, common in the Maghreb, the Nuba of the same name differ from school to school, and even within a school, there may be dozens of versions of a shindig.
- Algerian schools:
There are 16 noubat (including 4 unfinished): Al-dhil - Mjenba - Al-Husayn - Raml Al-Maya - Ramal - Ghrib - Zidane - Rasd - Mazmm - Sika - Al-Rasd dhil - Maya (Ghribet Hassine - Araq - Djarka - Mual).
They are each composed of five basic movements (Msaddar - btyh - Darj - insiraf - Khls) but preludes and interludes bring the number up to seven or nine: tshiya or D'ira or Bashraf (vocal piece rhythm free running in unison strict) - Mestekhber San'a (Algiers) or Mishalia (Tlemcen) (instrumental prelude to self-paced run in unison) - tshiya (instrumental piece for the opening, comprising a binary rhythm or Quaternary (2 / 4, 4 / 4).) - Msaddar (vocal and instrumental piece the most important, rhythm played on a 4 / 4.) - btyh (second piece vocal and instrumental, built on the same pace as Medder ( 4 / 4 less slow).) - Darj (vocal and instrumental movement built on a binary rhythm, accelerated more than the previous two parts.) - tshiya el Insirafate (instrumental piece announcing some fast and lively, built on a triple rhythm. ) - insiraf (vocal and instrumental movement in triple meter (5 / 8).) - Khls (sung his last song performed on a brisk pace and dancing (6 / 8).) or tshiya Kamal el (instrumental piece built on a binary rhythm or quaternary.).
Poetic forms that exist are: Muwashshah - Zadjali - Msaddar - Shugl (poem sung popular) - Barwal (practiced in Constantine ) - Melhun - El Wahrani (variant of Oran Melhun)
- Libyan school:
The noubat are composed of eight parts: two Msaddar - two Murakaza - two Barwal - Khafif - Khatm. They consist of an even pace with the name differs depending on the speed of the musical movement.
- Moroccan school:
The Nuba Moroccan is a suite of songs declined from 26 modes ( tab ' ) diatonic different (does not use micro-intervals, except in mawwdl recent), including 4 major (Maya - Al-dhil - Mazmm - Zidane).
The 11 noubat are long Raml al-Maya - Isbahn - Al-Maya - Al Rasd dhil - Al-istihll - Rasd - Gharbat al-Husayn - Al-Hijazi al-Kabir - Al-Hijazi al-Mashriq - 'Iraq' ajam - 'Ushshq.
They are each composed of five parts or different rhythms (Mizan): Basit (whose openings: mshliya and bughya) - wa-Qa'im nisf - btyh - Darij - Quddm.
The poetic forms are: Muwashshah - Zajal - Shugl - Barwal.
- Tunisian school:
Compiled in the eighteenth century by Rashid Bey , it was consolidated in the twentieth century by the Rachidia. The methods are based on certain micro-intervals Ottoman.
The 13 noubat: dhil - Iraq - Sika - Hsin - Rast - Raml al-Maya - Nawa - Asba'ayn - al-Rast dhil - Ramal - Isbahn - Mazmm - Maya.
They are composed of 9 movements (qut'a, jiz) based on 9 rhythms (AQI): Ishtifth or Bashraf Sama'a or Tshambar - Msaddar - Abyat - btyh - Barwal - Darj - tshiya - Khafif - Khatm.
Poetic forms: Nashid - Istihll - Amal - Muharrak - Muwashshah - Zajal - Barwal - Shugl.
Musical Instruments
The instruments used in a typical set of Arab-Andalusian music ( takht ) are:
- the riqq or tar : the drum is the instrument Arab master of all because he gives the basic ryhtme
- the naqarat : small timpani struck with sticks
- the darbuka : chalice drum, in olive wood or pottery , covered with a skin of goat or fish.
- the oud and kouitra : the ancestor of the lute
- the rebec or rabab : the fiddle sometimes replaced by the Arabic violin today
- the nay : flute in reed in mouth free, six or seven holes
- the qann or kanoun: zither with many strings, played with the fingers of the tabs.
Expressions regional
Algeria
The Arab-Andalusian art music is called Al moussiqa al Andaloussia ("Andalusian music") when there is no reference to any of these three major schools in Algeria practice this music with distinct shades:
- the gharnati submitted by Andalusian refugees arrived in Tlemcen , locate it later in Morocco from Tlemcen , and Algiers ,
- the San'a of Algiers relating to Cordoba
- malouf of Constantine claiming to Seville.
The first act of heritage value is attested to that of muftis Hanafis the seventeenth century. Mahieddine Bachtarzi, who relates this fact , says that before the dangers of a wither and disappear transmission Arab-Andalusian repertoire, the Hanafi muftis of Algiers had decided to write mouloudiates that would be sung in mosques with different modes of the Nuba. This act stemmed from a modern view, since conservation is based on practical action in the social field and not on a simple artificial maintenance. This operation is taking place also because the Jewish community had gradually imposed in the ownership of the Andalusian repertoire. This action opens an institutional practice (stakeholders like structures that host protective action belong to the religious institution), based on a translation of the secular to the religious.
The second form of heritage was to transcribe the material for this musical production and vocals. It is, in most cases the result of individual initiatives. These are actually called scholarly productions and ritualized forms that have benefitted more from these actions. This can be understood both as to the social status of scribes: scholars or lovers, and the symbolic issue that tends to emphasize cultural legitimacy by demonstrating the complex and learned musical forms rehabilitated
Christian Poached traced attempts to musical notation initiated by the Europeans in Algeria from 1860 to 1940. Besides Salvador-Daniel (1831-1871) and Christianowitsch (1835-1874), he also quotes Camille Saint-Saens , whose work enriched personal adaptations of certain modes and especially Nathan Yafil Edmond (1877-1928) who with the Directory of Arabic music and Moorish edited 1904 to 1927 in collaboration with Rouanet, was able to undertake the largest operation of setting a musical genre in Algeria. Several tests are then more limited transcript the day, Leo Louis Barbs be the first to transcribe a Hadra while the composer Juan Huertas Oran in collaboration with master Saud Medioni, has developed more than twenty songs, including the Touchia Dib .
The Algerian Muslims are no exception; from 1904 , Ghaouti Bouali Alger publishes a book of musical reflection, description of some Nuba and establishment of the tradition of poems hawzi Later Qadi Mohamed publish the anthology melhoun that generations of sheikhs often copy and transmit sparingly . This collection will be largely completed by the anthologies Mohamed Abderrahmane Sekkal Bekhouche and . Mahieddine Bachtarzi publishes, for its part in 1940, Melodies Arab Arabiya Musiqa in Paris. During the first half of the twentieth century , these books are further evidence of a culture it is considered threatened by colonial modernity as a rehabilitation company and the music sung texts are still part of the everyday world performers and the public.
Raising efforts, conservation and rehabilitation of the musical material and singing is supported by other modes and actions to support individual initiatives or processes of institutionalization, we see gradually put in place standards and practices, denominations and categorizations which over time become data that are part of a shared knowledge.
The drive will significantly change the nature of musical performances, and will swarm of genres and practices previously reduced to a limited space. In 1910 Gramophone records 400 records in Algeria and Tunisia (Algeria 223 Tunisia 180) 1910-1912 Catalogue Path reported several hundred discs North Africans . But little by little local editions are being put in place to make the symbolic level some regionalization and Algerian identity markers . In the same area can be cited, the activity of Label Collin and in a completely different perspective, using the French government for enriching the catalog Teppaz under the terms of Constantine. Nevertheless, a significant part of this discography can be considered as irretrievably lost as a result of historical events as World War II .
The major protagonists of musical practice in Algeria will be bound, like a Yafil, recordings of musical repertoire Algeria. Thus Rouanet, along with Yafil he undertook to transcribe the Arab-Andalusian repertoire Algerian, was a consultant with Gramophone. As Mahieddine Bachtarzi assured that the artistic direction of sound recordings for any Arab North Africa for the same Gramophone. Ahmed Hachelaf was, meanwhile, artistic director for Decca in 1947. His experience led him to be artistic advisor for Pathe Marconi in 1950 and later can create their own labels, Artists Associates Arabs and the Club du Disque Arabe. Even a practitioner of traditional music as Boualem Titiche had for four years, the status of artistic director at Philips.
But the most profound promote the music and songs of Arab-Andalusian repertoire were the initiatives of training and academic transfer. There would have been a School of Arabic music created in 1909 and Yafil was the Chair of Arabic music at the Conservatoire d'Algiers in 1922. In another development, between 1920 and 1940, contemporaries recognized the role of coach and adviser to Arab teachers of some madrasas or muftis for practitioners of the art music or traditional (as was the case of Mufti Boukandoura who led the choir qassadine in Algiers).
Association is a musical based institution heritage preservation . After independence, emulation, or even inter-association competition will lead to national initiatives in the promotion of musical events (several national festivals).
Efforts to stem patrimonialization Congress on the National Music of 1964 and the Report on Cultural Policy of the Central Committee of the FLN in 1981 and most important music festivals that constitute a true inventory of scholarly and popular music. The era of liberalism has spent more culture already valued in the cultural apparatus in place or enforced by the market .
According to the monograph of the town of Tlemcen, the latter is the capital of Arab-Andalusian music of Algeria and is the birthplace of great artists of the genre. Spain Spurred on by musicians specialists directory medieval Iberian such Gregorio, Luis, Carlos and Eduardo Paniagua (members of the Atrium Musicae ), Luis Delgado , Begonia Olavide and sets Calamus , Mudejar and Ibn Baya , a camaraderie established with North African musicians to reinterpret noubat in Andalusia. Following the mass emigration of Jews to that country, musicians Arab-Andalusian Maghreb met there and formed the Andalusian Orchestra of Israel in 1994, while the music was off to the Middle East since the absorption School of Aleppo , where muwashshah was very rich in Arabic music. The Malouf Libya has almost disappeared today and is hardly represented by the set of the Great Jamahiriya Malouf led by Hassan ARIBBEAN. The country is strongly influenced by the Arab-Andalusian for many reasons: its geographical proximity to Spain, which will be a part of Arab-Andalusian settle driven by successive layers (before and after 1492 and 1609) in Morocco in the hope of a comeback and by the absence of Ottoman colonization was high throughout the Arab world (which does not cause any region), particularly in terms of music and dress. Indeed, most of those expelled from Granada in 1492 found their last refuge in Morocco . In 1609, they will be followed by the Moors in Morocco which hosts the bulk which is currently estimated at five million the number of their descendants in Morocco , . After the advent of Alawites in 1660, the Arab-Andalusian music booming again thanks to Zawya and tariqa (Sufi brotherhoods) that encourage their followers to practice music. A century later, Al-Tetouan H'ik backup poetic and musical heritage of al-Ala . In 1886, Al-Jm' publishes a book on the repertoire performed at Fez: Precise kunnsh al-H'ik . Between the late nineteenth century and early twentieth century, large movements of people (including Jews) within Morocco have led to a spread of Andalusian music in the country. This reinforces the already existing liveliness of this music that has a real public warning for centuries. At the same time, between Oujda and Tlemcen and Oran (Algeria) musical exchanges and humans have occurred leading to a spread style gharnati Morocco. There are two forms of Arab-Andalusian music: ala al-Tarab, which is the main form particularly in Fez and al-Tarab gharnti in Rabat , Sal and Oujda in particular. The pitim triq and forms are practiced by Judeo-Moroccan . There is no Malouf (Andalusian music of Ottoman influence) in Morocco. The poems are literal or colloquial Arabic. The music Moroccan Andalusian is clearly different from the oriental music: it does not include quarter tones (some exceptions are to report) and it generally follows the scheme of the Western tempered scale, the range is often performed as a single melodic sequence while in Eastern music, it is subdivided into tricorder, and tetrachords pentacordes, his melodic line is simple and clear, the modulations are rare. Each shindig is very long, so it is rare to play them in full. Is usually only a single movement. However, all the Moroccan noubat was recorded by the Maison des Cultures du Monde in Paris, in collaboration with the Ministry of Culture of Morocco (a total of 73 compact discs divided into twelve boxes, each having a shindig or mizan ). Nowadays, there are two kinds of in Morocco Andalusian music: According to the musician and musicologist Mtioui Omar , Morocco, the survivors of the Inquisition enrich the regions where they settle for the knowledge they carry with them. In music, they infuse more particularly two cities, Rabat and Sal, a different style of the School Fes .... If the term gharnati designates Algeria , particularly in the region of Tlemcen , the entire directory Andalusian scholar in Morocco designate a separate Andalusian musical style ala al tab as confirmed by the authors Aous Rachid and Mohammed Habib Samrakandi . He is represented by several schools: Oujda , , Rabat and Sal and Tangier and Tetouan . If it has certainly been influenced Ottoman resulting in the use of modes (Maqamat) and forms (and bashraf Samai) Turkey, the agreement remains Maghreb instruments and the music remains rooted in the genre Arab-Andalusian the art of the Nuba West. The School of Kairouan was taken to Tunis , where Malouf is represented by: Israel
Libya
Morocco
Tunisia
References
External Links
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