Suchergebnisse

La fabrication de l'authenticité.
L'authenticité est une construction sociale, comme le révèlent particulièrement bien le processus de développement, à ses débuts, de produits culturels commerciaux tels que la country music et le phénomène d'amnésie qui l'accompagne. Au milieu des années 20, les producteurs américains de l'industrie du spectacle ont découvert une demande de musique "rétro", mais leurs préjugés idéologiques et esthétiques de citadins modernes les ont empêchés de comprendre rapidement cette demande. Les industriels moralistes de l'époque, dont le constructeur automobile Henry Ford, ont encouragé la renaissance d'une version saine et réglementée de la musique et de la danse "rétro", qui a été largement rejetée par la population. Il fallut 20 ans de tâtonnements et d'ajustements pour que les artistes et les producteurs de radio, de disques et de cinéma parviennent à fabriquer les deux personnages, le "hillbilly" et le "cow boy chantant", incarnant l'authentique aux yeux du public d'amateurs de l'époque.

Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.

Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.

Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.

This book investigates the relationship between music and war from the end of the XVIII century to WWI. 0The centennial commemorations of the Great War in 2014 have yielded significant research on the relationship between music and this first world-wide conflict. Thanks to several conferences and publications, our knowledge about the musical repertoire played on the home front, the musical practices of the soldiers, or the war?s impact on European musical life, is expanding. While joining the efforts to enlighten this particularly little-known period of music history, this book aims to investigate that relationship by adopting a larger time-span: from the end of eighteenth century until the outbreak of the First World War. What kind of connections can be found between music, musicians or the musical economy (editions, the circulation of scores, opera and concert programming, professionalisation) and the different conflicts that would tear the European continent apart? Bringing together more than twenty case studies dealing with several European wars, this volume also investigates the evolution of the perception of the sound of war (by Martin Kaltenecker), and proposes new perspectives based on recent 20th-century music and war studies