Rondeau and virelai: the music of Andalus and the Cantigas de Santa Maria (original) (raw)
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Andalusian Music and the Cantigas de Santa María
Cobras e son. Papers from a colloquium on the text, …, 2000
This paper revisits the problem of the relationship between Christian and Islamic culture in the Iberian Peninsula. It shows that Persian-Arab rhythmic theory as expounded by Al-Farabi, through the corresponding practice in Al-Andalus, heavily influenced the collection of songs known as the "Cantigas de Santa Maria" compiled by King Alfonso X el Sabio before 1284.
Andalusian Music and Convivencia
2018
This study investigates the Multicultural nature of Andalusian music. Since Andalusian music is wrongly considered as a purely Moroccan traditional music within populace (the non-practitioners of the music) of Moroccan society, this research aim is to put in consideration the results as a solution to the previously cited misunderstanding. It looks forward to showing that Andalusian music created a convivencia between different cultures and religions not only the Moroccan Islamic one. It will be conducted in two different places; firstly in the Conservatory of music in Meknes, with music educators and professional Andalusian music performers mainly from Morocco and Israel; secondly with non-practitioners of this exact type of music studying at Moulay Ismail University.
The Arab Contribution to Music of the Western World
The Muslims used notation as early as the ninth century at the time of Al-Ma'mun (d.833) and Ishaq Al-Mausili (d.850). We find it in the works of Al-Kindi (d.874), Yahia Ibn Ali Ibn Yahia (d.912), Al-Farabi (870-950), Ibn Sina (d.1037), Al-Hussain ibn Zaila (d.1048) and many others. We find Dominucus Gundissalinus (d.1151) used Arabic texts for his musical definitions. The Count Souabe Hermanus of Reichenau was particularly interested in the works of Al-Kindi and his musical theory and system of notation. The musical works of both Avicenna and Averoes were also influential on European music (as were their works in medicine) particularly in Provence[4] and Montpellier[5]. The works of Al-Farabi were influential on European musical theorists as recent as the eighteenth century, teaching le rapport 5/4 (major tierce) and 6/5 (minor tierce)
Music in Medieval Iberia: Contact, Influence and Hybridization
In the early twentieth century a lively debate raged between scholars who believed that Christian Spanish and French music had developed independent of the musical culture of Muslim Spain and those who argued that Muslim (" Andalusian ") musical traditions had greatly influenced the path of Western European music. That debate, however, died out in mid-century. Th is essay argues that there are strong reasons for revisiting that discussion: major new evidence has come to light in the past fifty years; scholars can now evaluate the situation removed from the passionately held positions of earlier writers, and, most importantly , can now move beyond the very limiting paradigm of " influence. " Two miniature case studies are presented here—musicians and the history of the " bowed lute " or " fiddle " —to demonstrate the great historical complexity of medieval Iberian musical culture and to argue that even the term " hybridization " is too simplistic to describe the " complex genealogies " involved.
Proposal for new methodologies for the transmission of musical and lyric forms from medieval al-Andalus into Early Europe Ed Emery [SOAS, London] Medieval and Renaissance Music conference, Edinburgh, 1-4 July 2020 Abstract: The southward spread of musical and lyric forms from medieval al-Andalus is widely studied and documented, and is currently the subject of new research initiatives. These forms, notably the muwashah and zajal, are seen as part of Maghrebi and Arabic musical "heritage", and have enjoyed great popularity throughout the centuries. The northward spread is another matter. The diffusion of Andalusi instruments north of the Pyrenees is attested (‘ud > lute, rebab > rebec, nakers > timpani, etc). A critical question remains to be researched. Along with the northward exportation of musical instruments beyond the Pyrenees, did the rhythms, structures and melodies of these formidable dance-song genres also reach into Early Europe? A prima facie examination says yes – the Italian ballata, for instance, is generally taken to have "zajalesque" roots and origins. But in-depth research since the days of Julián Ribera y Tarragón (1858-1934) and H.G. Farmer (1882-1965) has been relatively thin on the ground. The time has come to re-address the question. This paper will look at the field in general terms, to define methods, and to map a set of diverse approaches for ongoing work to illuminate the nature of these diffusions. E-mail: ed.emery@soas.ac.uk