Revue des Traditions Musicales

Abstract

Ce texte propose une étude analytique de la contribution du disque 78 tours à l'essor de l'art du ʿūd égyptien en solo, sur la période 1910–1930, et de l'influence de ce médium sur cet art dans ses composantes formelles, organologiques et techniques. L'analyse des documents sonores met en exergue l'influence des contraintes du format enregistré sur le développement d'une musique instrumentale autonome (particulièrement, samāʿī et taqsīm) et permet d'élaborer une typologie des modes de jeu des mains droite (rīša, octaviation, zīr bam) et gauche (bašm), constituant la signature caractéristique de l'école égyptienne et le moyen par lequel les solistes marquent leurs différences stylistiques.

This paper proposes an analytical study of the contribution of the 78 rpm disc in the evolution of the art of Egyptian ʿūd in solo during the period 1910–1930, and of the influence of this medium on this art regarding forms, instrumental manufacture, and technical components. The analysis of these recordings permits to show the influence of the recording format constraints on the development of an independent instrumental music (in particular, taqsīm and samāʿī) and permits to elaborate a typology about the modes of playing (with the right hand: rīša, octaviation, zīr bam — and with the left hand: bašm) which constitute together a characteristic signature of the Egyptian school, and the manner through which each soloist marks his own style.

Notice
Revue des Traditions Musicales was originally published in print by Antonine University Press. It is now being republished by Luminous Insights Publishing House as part of the journal’s transfer.

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