Revue des Traditions Musicales

Abstract

This article examines how coloniality and Orientalism have shaped European representations of Arabic music and, consequently, affected the value attributed to the musical cultures of Arab peoples. Using the historical critiques of figures such as Winston Churchill and French orientalist scholars and musicians (including Villoteau and Christianovitch), the text highlights the racist assumptions embedded in their descriptions of Arabic musical practice—assumptions that stem from ignorance of Arabic language, history, and theoretical traditions. It argues that these judgments frequently resulted from a Eurocentric framework that evaluated non-Western music through Western canons, while overlooking the internal logics of maqām-based modal systems, heterophonic vocality, improvisation, and culturally situated rhythmic structures.  The article also situates colonial influence within broader historical processes: European archaeological interest in Egypt, the institutionalization of Western opera and notation in Cairo, and the role of early twentieth-century international conferences in redefining “Arabic music” alongside the discourse of modernization and reform. Finally, it discusses ongoing hybridities in contemporary Arab musical spaces and reflects on the “double face” of modernity/coloniality, emphasizing that cultural exchange does not necessarily require cultural replacement, but can coexist with the preservation of local traditions.