Dec 072019
 

English

[French translation below]

We have the great pleasure of proposing our first set of Books and CD reviews on NEMO-Online.

Two books and one CD are reviewed:

  • Avra Pieridou Skoutella : Small musical worlds in the Mediterranean: ethnicity, globalization and Greek Cypriot children’s musical identities, Ashgate |Farnham, Surrey ; Burlington, VT, 2015|, reviewed by Rosy and Amine Beyhom, Near-Eastern Musicology Online 5 8 |2019-11| p. 65–66.
  • Jean-François Goudesenne : Émergence du chant grégorien : les strates de la branche Neustro-insulaire (687-930) – Tome I. Étude historique et philologique, Tome II. Annexes, planches et édition, MŪSAM (MUSICALIA ANTIQUITATIS & MEDII AEVI) 2 vols., Brepols |Turnhout (Belgique), 2018|, reviewed by Rosy and Amine Beyhom, Near-Eastern Musicology Online 5 8 |2019-11| p. 66–69.
  • CD recorded by Melpo Merlier : ‘and let us sing in praise’ – Byzantine Hymns recorded in 1930 by Melpo Merlier, EDO (HERE) |Athens and Volos (Greece), March 2000|, reviewed by Rosy and Amine Beyhom, Near-Eastern Musicology Online 5 8 |2019-11| p. 69–71.

Français

Nous avons le plaisir de proposer cette première série de recensions de livres et d’un CD dans NEMO-Online.

Deux livres et un CD ont été revus:

  • Avra Pieridou Skoutella : Small musical worlds in the Mediterranean: ethnicity, globalization and Greek Cypriot children’s musical identities, Ashgate |Farnham, Surrey ; Burlington, VT, 2015|, recension par Rosy et Amine Beyhom, Near-Eastern Musicology Online 5 8 |2019-11| p. 65–66.
  • Jean-François GOUDESENNE : Émergence du chant grégorien : les strates de la branche Neustro-insulaire (687-930) – Tome I. Étude historique et philologique, Tome II. Annexes, planches et édition, MŪSAM (MUSICALIA ANTIQUITATIS & MEDII AEVI) 2 vols., Brepols |Turnhout (Belgique), 2018|, recension par Rosy et Amine Beyhom, Near-Eastern Musicology Online 5 8 |2019-11| p. 66–69.
  • CD recorded by Melpo Merlier : ‘and let us sing in praise’ – Byzantine Hymns recorded in 1930 by Melpo Merlier, EDO (HERE) |Athens and Volos (Greece), March 2000|, recension par Rosy et Amine Beyhom, Near-Eastern Musicology Online 5 8 |2019-11| p. 69–71.
 Posted by at 06:02
Nov 302019
 

English

[French translation below]

NEMO-Online is delighted to propose Amine Beyhom’s sequel to the dossier “MAT for the VIAMAP” which was published by NEMO-Online in November 2018. The post includes four video analyses of maqām music. The first part of the dossier combines three previously published analyses which cover different aspects of maqām, and follow an order of growing complexity of the analysis which does not interfere with its performance. The first ever 3D video analysis (A Huseynî Taksim performed by Neyzen Tevfik) undertaken by the research center of the author is included.

While the analyses in Part I of the dossier reveal the skills of exceptional maqām  performers, Maḥmūd’s and a-sh-Shawwā’s performance investigated in Part II take us to heights of mastery and complexity rarely reached today, and gives a unique example of the Art of maqām as it came to be fully developed towards the beginning of the 20th century.

The first three video analyses tend to confirm that maqām and other forms of music can be better explained and analyzed by techniques extensively used in the 1950s and 1960s by eminent ethnomusicologists such as Charles Seeger. Compared with previous releases accompanying “MAT for the VIAMAP”, new, improved techniques are used in present analyses of these three performances in order to better understand the music, while the analysis of the qaṣīda Yā Nasīm a-ṣ-Ṣabā performed by ʿAlī Maḥmūd and violinist Sāmī a-sh-Shawwā uses even more refined techniques to remedy the problems that arise with historical recordings which are of the paramount importance for the understanding of the evolution of maqām music during the last century. A research on the lyrics of the qaṣīda (by Shaykh Maḥmūd a-sh-Shahhāl from Tripoli – Lebanon) is included at the beginning of Part II.

Amine Beyhom: The Lost Art of Maqām – With four video analyses of performances by Evelyne Daoud, Neyzen Tewfik, Hamdi Makhlouf, and by ʿAlī Maḥmūd and Sāmī a-sh-Shawwā,” Near-Eastern Musicology Online 5 8 |2019-11| p. 5–64.

 

Video analysis of/Video-analyse de Yā Nasīm a-ṣ-Ṣabā performed by/par ʿAlī Maḥmūd and/et Sāmī a-sh-Shawwā

 

Third-tempo version of the above video analysis / Version ralentie trois fois de la vidéo ci-dessus

Slide-projection based video explaining heterophony / Vidéo basée sur des diapositives expliquant l’hétérophonie

Français

Nous avons le plaisir à NEMO-Online de publier ce nouvel article (en anglais) par Amine Beyhom qui constitue une suite au dossier “MAT for the VIAMAP” publié dans NEMO-Online en Novembre 2018, avec quatre analyses vidéo de musique de maqām. La première partie du dossier réunit trois analyse publiées précédemment et qui couvrent différents aspects du maqām, suivant une complexité croissante de l’analyse (mais pas de la performance). La première vidéo analyse en 3D (d’un Taksim [en] Huseynî par Neyzen Tevfik) effectuée par le centre de recherche de l’auteur est incluse parmi ces trois.

Les trois analyses proposées en première partie de ce dossier expliquent divers aspects et compétences techniques ou artistiques de la chanteuse (Evelyne Daoud) et des deux musiciens (Neyzen Tevfik et Hamdi Makhlouf), tandis que la deuxième partie est consacrée à la qaṣīda Yā Nasīm a-ṣ-Ṣabā chantée par le cheikh ʿAlī Maḥmūd accompagné par le violoniste Sāmī a-sh-Shawwā, un exemple unique de l’Art du maqām au faîte de son développement au début du XXe siècle.

Si les trois premières analyses tendent à confirmer que la musique de maqām et d’autres peuvent mieux être expliquées et analysées avec les techniques déjà mises en œuvre par d’éminents ethnomusicologues – tel Charles Seeger – dans les années 1950 et 1960, et utilisent les techniques supplémentaires mises au point par l’auteur et son équipe, l’analyse de Yā Nasīm a-ṣ-Ṣabā a nécessité la mise au point de techniques encore plus raffinées pour remédier aux problèmes inhérents à de tels enregistrements historiques – ceci, d’autant plus que l’importance de ces enregistrements pour une meilleure compréhension de cette musique n’est plus à démontrer. Notons qu’une recherche sur les paroles de la qaṣīda (par le cheikh Maḥmūd a-sh-Shahhāl de Tripoli – Liban) est incluse au début de la deuxième partie.

Amine Beyhom: The Lost Art of Maqām – With four video analyses of performances by Evelyne Daoud, Neyzen Tewfik, Hamdi Makhlouf, and by ʿAlī Maḥmūd and Sāmī a-sh-Shawwā,” Near Eastern Musicology Online 5 8 |2019-11| p. 5–64.

Nov 092017
 

English

Free download of the articles of Nemo-Online Vol. 4 No. 6 below (click for the pdf version on the corresponding title of each article). 

Issue 6 of NEMO-Online and editorial will be available in hard copy and pdf with Issue 7 in Volume 4, November 2018.

NEMO-Online Vol. 4 Nos. 6 & 7 call for papers was: Research groups CERMAA, ICONEA and IReMus are seeking papers for the sixth and seventh issues of NEMO. The theme, continued from the theme of NEMO-Online No. 5 (available here), is about ‘Musicology/Ethnomusicology: evolutions, problems, alternatives’.

This call for papers is sustained for NEMO-Online Vol. 4 No. 7 issue. We would like this issue of NEMO to continue the debate initiated in NEMO-Online No. 5&6 concerning the usefulness of the science, the problems raised due to powerful and contradictory non-scientific characteristics, and the alternatives which may be proposed.

Papers to be sent both to Richard Dumbrill (rdumbrill[[[]]]nemo-online.org) and Amine Beyhom (abeyhom[[[]]]nemo-online.org) and should follow the editorial layout.

Following the updated editorial policy of NEMO-Online, papers are published as soon as ready during the year preceding the official publication in November of each year, then emendated if necessary for final publication. Papers hold the date of their effective publication besides the date of their official publication (between parentheses). To comply with NEMO-Online publishing policy, and as with all articles of the review since Volume 3, the pdf version includes bookmarks corresponding to the titles, sub-titles, tables and figures, which should help the reader navigate between the different parts of the article.

The Editing Board will consider the publication of papers which might be ‘off subject’ as long as they retain some relationship with the wider theme of the publication.

Deadlines for NEMO-Online No. 7 issue: proposals by end of May 2018 and finalized paper by end of July 2018.

Previous volumes available here, individual articles on the dedicated page (Articles tab) on NEMO-Online website.

 

NEMO-Online 6 contents :

Musicology/Ethnomusicology: evolutions, problems, alternatives (2)

Originally entitled  “A New Hypothesis for the Elaboration of Heptatonic Scales and their Origins” and published (2010) in the proceedings of ICONEA 2008, this paper has been emendated, updated and enriched, and is reissued for NEMO-Online Vol. 4 No. 6. New research since its first publication presented complementary and sometimes clarifying facts which, with the evolution of terminology (see Beyhom’s “Lexicon” in NEMO-Online Vol. 2 No. 2 – in French, with Appendix L entitled “Core Glossary” – in this article complementing it), makes it indispensable to publish this new edition. Most of the tables and figures have been reintegrated in the body text, and a dedicated appendix (Appendix G) has been added concerning Octavial scales with limited transposition.

(Adapted) excerpts from the article (Introduction):

The insistence of Mainstream Western Archaeomusicology at force-fitting the Babylonian musical system into the Western model is one of the greatest oversights in the History of music. It came from the methodology (or rather of its absence) of certain Assyriologists and of their determination at spearheading “their discoveries” by means of unsuitable Western models. The manner in which Musical systems are constructed, whether consciously or not, are part of the culture of a people and must be unveiled with the utmost respect and without linkage to theories of later cultures as this would lead to colonialist unification. This article is the consequence of my determined endeavor at academically fostering the proof of the evidence against unproven presumptive inference, and more significantly to assert, scientifically, that heptatonism – which is not universal – is by no means engraved onto mankind’s unconscious. It is a structure, among others, which eventually hatched in the Near-East, as part and consequence of another or other systems, but not as a new, independent and exclusive concept.

Bruno Chikushin (his artist name) Deschênes, a musician and author of a book on the shakuhashi, is a trained shakuhachi player. The aim of his article is to propose a musician’s point of view on the analysis of the honkyoku repertoire. In order to propose another model for understanding this unique music, Deschênes expands on previous authors’ proposals and shows, in the final section, that some of these authors’ conclusions do apply to honkyoku music, while others do not. Although these authors present a relevant understanding of the melodic structure of honkyoku, Deschênes suggests that there is more to it than they propose, specifically highlighting two important aspects of this music that they miss, namely that playing shakuhachi has to do first and foremost with tone-color, not pitches, and that the melodic quality of each phrase and each piece is more in the melodic forms and contours created by the kakuontei and the kakuon than it is in the pitches (see the Glossary at the end of the article).

 

Français

Les articles du numéro 6 de NEMO-Online sont accessibles librement en téléchargement ci-dessous (cliquer sur les titres des articles pour télécharger les pdf).

Le numéro 6 et l’éditorial seront publiés, en version papier et pdf, conjointement avec le Numéro 7 au sein du Volume 4 en (novembre) 2018.

L’appel à contributions pour NEMO-Online Volume 4 nos 6 & 7 était:

Les centres et groupes de recherches CERMAA, ICONEA et IReMus ont le plaisir d’annoncer le thème du Volume 4 de NEMO-Online, nos 6 & 7 : « Musicologies/Ethnomusicologies : évolutions, problèmes, alternatives ». Le thème est la continuation du thème de NEMO-Online no 5, que vous pouvez revoir ici.

Cet appel est maintenu pour NEMO-Online n°7. Nous souhaitons à NEMO que ce numéro prolonge le débat sur l’utilité de la discipline, sur les problèmes suscités par ses caractéristiques fortement (et contradictoirement) a-scientifiques, et, surtout, sur les alternatives qui peuvent être proposées.

Les articles de ce numéro seront publiés au fur et à mesure de leur réception-évaluation-préparation pour la publication internet. NEMO-Online No 7 rassemblera les articles parus et en cours de parution et sera publié en novembre 2018, comme partie du Volume 4 (NEMO-Online Nos 6 & 7).

Langues et normes : voir ici.
Envoi des propositions d’articles à Richard Dumbrill (rdumbrill[[[]]]nemo-online.org) et Amine Beyhom (abeyhom[[[]]]nemo-online.org) avant : fin mai 2018 pour NEMO-Online No 7.

Date limite d’envoi des articles : fin juillet 2018 pour NEMO-Online No 7.

La rédaction acceptera également d’examiner des dossiers spéciaux ou des articles hors-thème, du moment qu’ils concernent la thématique générale de la revue.

Les volumes précédents sont disponibles ici, les articles individuels dans l’onglet Articles récemment ajouté sur le site de NEMO-Online.

Contenu du numéro 6 :

Musicologie/Ethnomusicologie: evolutions, problèmes, alternatives (2)

Le titre original de cet article, publié en 2010 après le colloque ICONEA 2008, était “A New Hypothesis for the Elaboration of Heptatonic Scales and their Origins”. Cette version publiée par NEMO-Online porte le titre, plus concis, “A Hypothesis for the Elaboration of Heptatonic Scales”, l’hypothèse présentée n’étant pas nouvelle (établie en 2003) et toujours non remise en cause dans la littérature musicologique. L’article est corrigé, mis à jour pour la terminologie (voir le “Lexique” de l’auteur dans NEMO-Online Vol. 2 No. 2, avec l’Appendice L – le “Core Glossary” – dans cet article comme complément), et augmenté.  La plupart des tables et figures a été réintégrée dans le texte principal, et l’Appendice G (concernant les échelles à transposition limitée) ajouté, avec son complément Power Point. 

Extraits (adaptés) de l’article (Introduction):

L’acharnement avec lequel la musicologie occidentale a essayé de refondre le système babylonien dans un moule occidental, ne lui convenant pas, est certainement l’expression d’un occicentrisme persistant issu d’une méthodologie, ou plutôt de son absence, parmi les assyriologues et pseudos-musicologues, et de leur acharnement à promouvoir leurs ‘découvertes’ par le moyen de modèles occidentaux inappropriés. La manière dont les systèmes musicaux sont construits, consciemment ou non, fait partie de la culture d’un groupe ‘ethnique’ et doit être dévoilée avec le plus grand respect et sans, à tout prix, les rattacher à des cultures qui leurs sont postérieures car cela équivaudrait à une unification colonialiste. Cet article est la conséquence de ma détermination à produire la preuve des faits contre les présomptions issues d’interprétations, et plus particulièrement de démontrer que l’heptatonisme – qui n’est pas universel – n’est certainement pas gravé dans notre inconscient. C’est une structure, entre d’autres, qui éventuellement eût éclos au Proche-Orient comme partie et comme la conséquence d’un autre ou d’autres systèmes, mais non un système nouveau, indépendant et exclusif.

Bruno Chikushin (de son nom d’artiste japonais) Deschênes, auteur du premier livre en français consacré au shakuhachi, est un musicien de formation. Le but de son article est de proposer une analyse du répertoire solo de honkyoku pour shakuhachi du point de vue du musicien. Afin de proposer un modèle qui devrait permetre de mieux comprendre cette musique unique, Deschênes développe les propositions d’auteurs précédents et montre, dans la dernière section, que certaines conclusions de ces auteurs s’appliquent à la musique honkyoku, alors que d’autres ne s’appliquent pas. Bien que ces auteurs présentent une compréhension pertinente de la structure mélodique de honkyoku, Deschênes suggère qu’il y a plus que ce que leurs analayses proposent, soulignant spécifiquement deux aspects importants de cette musique qui sont absents, à savoir que le jeu du shakuhachi consiste d’abord à mettre de l’avant les timbres musicaux et non les hauteurs, et que la qualité mélodique de chaque phrase et de chaque pièce est plus dans les formes mélodiques et les contours créés par les kakuontei (intervalle nucélaire) et les kakuon (note nucléaire) que dans les hauteurs proprement dites (voir aussi le glossaire à la fin de l’article).

 

(Permalink: http://nemo-online.org/archives/1692)

Aug 272017
 

[Download links at the end]

NEMO-Online is delighted to propose this new article on modality in a very different way than what we have been used to: it is based on the absence of modes in part of the Japanese honkyoku repertoire, while composition is ruled mainly by the tone-color of the sounds (we do not dare write “pitches”) emitted by the shakuhashu player, at least in Traditional composition.

The article is written by Bruno Chikushin (his artist name) Deschênes, a musician and author of a book on the shakuhashi, himself a trained shakuhachi player. The aim of the article is to propose a musician’s point of view on the analysis of the repertoire. In order to propose another model for understanding this unique music, Deschênes expands on previous authors’ proposals and shows, in the final section, that some of these authors’ conclusions do apply to honkyoku music, while others do not. Although these authors present a relevant understanding of the melodic structure of honkyoku, Deschênes suggests that there is more to it than they propose, specifically highlighting two important aspects of this music that they miss, namely that playing shakuhachi has to do first and foremost with tone-color, not pitches, and that the melodic quality of each phrase and each piece is more in the melodic forms and contours created by the kakuontei and the kakuon than it is in the pitches (see the Glossary at the end of the article).

Bruno Deschênes: A preliminary approach to the analysis of honkyoku, the solo repertoire of the Japanese shakuhachi,” Near Eastern Musicology Online 4 6 |2017-08| p. 123–143.

  • Additional material:
    • Daiwa gaku (First analyzed song – By Bruno Deschênes) – mp3
    • Shika no tone (Second analyzed song – By the Ensemble Matsu Také with Michel Zenchiku Dubeau) – mp3
 Posted by at 06:59
Aug 222017
 

[Download links at the end]

(Adapted) excerpts from the article (Introduction):

The insistence of Mainstream Western Archaeomusicology at force-fitting the Babylonian musical system into the Western model is one of the greatest oversights in the History of music. It came from the methodology (or rather of its absence) of certain Assyriologists and of their determination at spearheading “their discoveries” by means of unsuitable Western models.

The manner in which Musical systems are constructed, whether consciously or not, are part of the culture of a people and must be unveiled with the utmost respect and without linkage to theories of later cultures as this would lead to colonialist unification.

This article is the consequence of my determined endeavor at academically fostering the proof of the evidence against unproven presumptive inference, and more significantly to assert, scientifically, that heptatonism – which is not universal – is by no means engraved onto mankind’s unconscious. It is a structure, among others, which eventually hatched in the Near-East, as part and consequence of another or other systems, but not as a new, independent and exclusive concept.

Richard Dumbrill: The Truth about Babylonian Music,” Near Eastern Musicology Online 4 6 |2017-08| p. 91–121.

 Posted by at 15:33
May 012017
 

[Download links for the article and the Power Point show at the end]

Amine Beyhom’s article “A Hypothesis for the Elaboration of Heptatonic Scales”, originally entitled  “A New Hypothesis for the Elaboration of Heptatonic Scales and their Origins” and published (2010) in the proceedings of ICONEA 2008, has been emendated, updated and enriched, and is reissued for NEMO-Online Vol. 4 No. 6.

New research since its first publication presented complementary and sometimes clarifying facts which, with the evolution of terminology (see Beyhom’s “Lexicon” in NEMO-Online Vol. 2 No. 2 – in French), makes it indispensable to publish this new edition. Most of the tables and figures have been reintegrated in the body text, and a dedicated appendix (Appendix G) has been added concerning Octavial scales with limited transposition.

To comply with NEMO-Online publishing policy, and as with all articles of the review since Volume 3, the pdf version includes bookmarks corresponding to the titles, sub-titles, tables and figures, which should help the reader navigate between the different parts of the article.

Note: former Appendix G in the 2010 version (complete database – quarter-tone model with reduced alphabet of intervals – now Appendix I), and new Appendices J (generation of systems with the extended alphabet from 2 to 24 quarter-tones – raw results from the program Modes V. 5) and K (17ths of the octave full alphabet heptatonic generations of systems) are available below for download. Additionally, one Power Point show illustrating (mainly) Appendix G with audio examples, is proposed as a complement.

Amine Beyhom : A Hypothesis for the Elaboration of Heptatonic Scales,” Near Eastern Musicology Online 4 6 |2017-05| p. 5–90.