“Composition, Tradition and the Anxiety of Musical Influence in Syrian and Moroccan Andalusian Musics.” Proceedings Congrès des Musiques dans le Monde de l’Islam/Conference on Musics in the World of Islam. Assilah, August 8-13, 2007. Ed. Pierre Bois. Fondation du Forum d’Assilah. (original) (raw)
Related papers
The Musical Heritage of Al-Andalus
The Musical Heritage of Al-Andalus, 2020
The Musical Heritage of Al-Andalus is a critical account of the history of Andalusian music in Iberia from the Islamic conquest of 711 to the final expulsion of the Moriscos (Spanish Muslims converted to Christianity) in the early 17th century. This volume presents the documentation that has come down to us, accompanied by critical and detailed analyses of the sources written in Arabic, Old Catalan, Castilian, Hebrew, and Latin. It is also informed by research the author has conducted on modern Andalusian musical traditions in Morocco, Algeria, Tunisia, Egypt, Lebanon, and Syria. While the cultural achievements of medieval Muslim Spain have been the topic of a large number of scholarly and popular publications in recent decades, what may arguably be its most enduring contribution-music-has been almost entirely neglected. The overarching purpose of this work is to elucidate as clearly as possible the many different types of musical interactions that took place in medieval Iberia and the complexity of the various borrowings, adaptations, hybridizations, and appropriations involved.
This article examines how the concepts of "al-Andalus" and "Andalusian music" serve as touchstones for cultural identity in contemporary Syria and Morocco. I investigate how the performance of Andalusian music promotes ideologies of communal, national, and transnational identity in these diverse contexts. Attention to the trans-Mediterranean links among performers and consumers of Andalusian music reveals the often contradictory ways that expressive culture orients complex flows of ideologies and peoples across the boundaries of the contemporary Mediterranean. Sanastarji' iyâki in sha' allah yastarji' reconquista al-firdaws almafqûd firdawsuna al-mafqûd For al-Andalus medina
“The Islamic Musical Sciences and the Andalusian Connection: Juan Andrés’ «Letter on Arabic Music» (1785)”, Journal of Usuluddin, 2021, vol. 49, num. 1, pp. 151-182. [DOI: https://doi.org/10.22452/usuluddin.vol49no1.6\] Abstract: Music was an essential part of the philosophical knowledge in the classical antiquity and then in the medieval era. Music provided tools to foster a global speculative knowledge, and the classical Islamic thought developed different musical sciences. This paper tries to describe the different approaches to the musical phenomenon from an Islamic perspective, and the feasible transmission of this knowledge to Western music via al-Andalus. In doing so, the paper places attention in the Italian «Letter on Arabic Music» written by the Spanish Jesuit Juan Andrés in 1785, one of the first documents attesting this connection.
The Victors and the Vanquished: Recovering the History of Al-Andalus
Annals of Philosophy, Social and Human Disciplines, 2014
Cultural encounters between Spain and Morocco have been marked by hatred, friendship and hostile contempt throughout various historical junctures. The Muslim presence in modern Spain has shaped cultural representations between Self and Other, West and East, Europe and its Otherness. This historically imagined hostility and the everlasting tension created between East and West could be traced back as early as Medieval ages when Muslims conquered Southern Europe. This episode of history gave rise to frequently manipulated and constructed misrepresentations which served in the production of distorted and often disfigured discourses about the Muslim Other in the western popular imagination. This article looks at this historical event and attempts to shed light on the historical circumstances surrounding the Moorish presence in medieval Spain. It also tries to look at one of plays that enhance the existence of the cultural Other within a white territory of disapproval, annihilation and s...
Jonathan Glasser, The Lost Paradise- Andalusi Music in Urban North Africa.pdf
African Music, 2018
By reconsidering the notion of memory, repertoire and the historical narratives of various culture bearers during the colonial and postcolonial period in Algeria, Glasser offers a remarkable study on the revival of Andalusi music. The book is divided into two main sections: the musicological and sociological aspects of Andalusi music; and the different forms of revitalising Andalusi music as experienced by musicians, listeners, musical associations and the national politics of patrimony. Further, the book offers a historical understanding on the origins of Andalusi music in which Zyriab (musician from Baghdad) in the ninth century in Cordoba (Spain) is the main character. The book provides a considerable number of musical terms for the richer understanding of the musical inflections occurring during the performance of this particular musical genre. In doing so, Glasser connects the musical understanding of Andalusi music with other Algerian popular and contemporary musical styles such as chaabi or rai. The book employs different research approaches ranging from the phenomenological to historical and sociological accounts of the representation of Andalusi music in Algeria or North Africa. Although Glasser mentions most of the musical terms that appear in Andalusi music during the first part of the book, the book does not offer an in-depth musicological understanding of this particular musical genre