Maqām

 

Introduction (French)

Cette bibliographie contient des références en connection avec le maqām : elle se déclinera par régions ; pour le moment, toutes les références sont groupées.

N’oubliez pas : les bibliographies de l’”Inde“, de “la Grèce ancienne et de Rome” et du Chant byzantin sont publiées à part et accessibles par l’onglet “Bibliography > Modality”, ou encore les bibliographies publiées par le CERMAA, notamment les bibliographies pour le `Ūd et pour la période systématiste.

Introduction (English)

This bibliography consists of references relevant to the modal studies of maqām music: references will be shown soon in sub-divisions according to the geographical area; please consult also the bibliographies of CERMAAA, notably the bibliographies for the `Ūd and for the Systematist period.

Do not forget: the “India“, “Ancient Greece and Rome“ and “Byzantine Chant” bibliographies are published as standalones (see “Bibliography > Modality”).

 

Bibliographie/ Bibliography

Maqām (muqam, mugam, makam, etc.) et / and dastgah

  1. ʿAbbās (al-), Ḥabīb Ẓāhir, et حبيب ظاهر Ḥabīb Dhāhir العباس. نظريات الموسيقى العربية Nadhariyyāt al-Mūsīqā al-ʿArabiyya. Vol. Theorie Musique Arabe. (Baghdad – Irak) بغداد – العراق: وزارة الثقافة والٳعلام، دائرة الفنون الموسيقية، معهد الدراسات النغمية العراقى (Wizārat a-th-Thaqāfa wa-l Iʿlām, Dāʾirat al-Funūn al-Mūsīqiyya, Maʿhad a-d-Dirāsāt a-n-Naghmiyya al-ʿIrāqiyy), 1986.
  2. ʿAṭṭārzādah, Muḥammad. « Rannat Al-Awtār Fī Jadāwil Al-Afkār Fī Fann Al-Mūsīqā [Ms. Garrett N°3233Y] ». Islamic Manuscripts, Garrett no. 3233Y. Princeton University ‎–‎ USA, xixe siècle (?).
  3. ꜤAwaḍ, Manṣūr. Qāmūs Taṣwīr al-Anghām Ꜥalā Kull Maqām. MaṭbaꜤat ꜤAli Muḥammad Sukkar, 1902.
  4. Al-Lāh-Wīrdī, Mīkhā’īl: Falsafat al-Mūsīqā a-sh-Sharqiyya fī Asrār al-Fann al-`Arabiyy, 2nd ed., Ibn Zaydūn (Damas?, 1950).
  5. Amīr, Sālim Ḥusayn سالم حسين الأمير. Dalīl Salālim al-Maqāmāt al-ʿArabiyya دليل سلالم المقامات العربية. (Baghdad) بغداد – العراق: دار الشؤون الثقافية العامة, s.d.
  6. ʿĀmirī (al-), Thāmir ʿAbd-al-Ḥasan ثامر عبد الحسن العامري. المغنون الريفيّون وأطوار الأبوذيّة العراقيّة Al-Mughannūn a-r-Rīfiyyūn wa Aṭwār al-Abūdhiyya al-ʿIrāqiyya. Baghdad (?): دار الشؤون الثقافية العامة, 1987.
  7. Anon.: Kitāb mu’tamar al-mūsīqā al`arabiyya [Book of the Congress of Arabian music], Imprimerie Boulac (Le Caire, 1932).
  8.  Ayangil, Ruhi: “Western Notation in Turkish Music”, Journal of the Royal Asiatic Society (Third Series) (2008) [doi:10.1017/S1356186308008651], 401-447.
  9. Ayari, Mondher and Stephen McAdams: “Aural Analysis of Arabic Improvised Instrumental Music (Taqsīm)”, Music Perception: An Interdisciplinary Journal (2003), 159-216.
  10. Ayari, Mondher. De la théorie à l’art de l’improvisation : analyse de performances et modélisation musicale. Culture et Cognition Musicale. France: Delatour, 2005.
  11. Ayari, Mondher, Hamdi Makhlouf, et Michel Imberty. Musique, signification et émotion. Culture et cognition musicales, ISSN 1950-036X ; 2. Sampzon – France: Delatour France, 2010.
  12. Babiracki, Carol M. and Bruno Nettl: “Internal Interrelationships in Persian Classical Music: The Dastgah of Shur in Eighteen Radifs”, Asian Music (1987) [doi:10.2307/833763], 46-98.
  13. Baily, John: Music of Afghanistan: professional musicians in the city of Herat, CUP Archive (1988).
  14. Baily, John: “Recent Changes in the Dutār of Herat”, Asian Music (1976) [doi:10.2307/833946], 29-64.
  15. Bake, J., S. Shaheen, and N. E.M Ensemble: “Arabic Music: Samaie Farhafza Analysis” (2003).
  16. Barkechli, Mehdi and Moussa Ma’aroufi: La musique traditionnelle de l’Iran: Les systèmes de la musique traditionnelle de l’Iran (Radif), Ministère de la culture et des arts (1963).
  17. Bashīr, Jamīl جميل بشير. طريقة عزف العود Ṭarīqat ʿAzf al-ʿŪd. Baghdad بغداد – عراق: وزارة المعارف, 1961.
  18. Beaton, Roderick: “Modes and Roads: Factors of Change and Continuity in Greek Musical Tradition”, The Annual of the British School at Athens (1980), 1-11.
  19. Beeman, William O.: “You Can Take Music out of the Country, but…: The Dynamics of Change in Iranian Musical Tradition”, Asian Music (1976) [doi:10.2307/833786], 6-19.
  20. Bektaş, Tolga: “Relationships between Prosodic and Musical Meters in the Beste Form of Classical Turkish Music”, Asian Music (2005a), 1-26.
  21. Bektaş, Tolga: “Relationships between Prosodic and Musical Meters in the Beste Form of Classical Turkish Music”, Asian Music (2005b), 1-26.
  22. Beyhom, Amine: Théories byzantines de l’échelle et pratique du chant byzantin arabe, Par l’auteur (Broummana, 2015).
  23. Beyhom, Amine: “Dossier : Influence des théories ‎européanisées du xixe siècle sur la ‎notation et la pratique des modes ‎de la musique arabe et d’autres ‎musiques, à travers la mise en ‎exergue du mythe du genre ḥijāz ‎semi-tonal,” Near Eastern Musicology Online 2 3 (2014-11), 87–177.
  24. Beyhom, Amine: “Un lexique de la modalité,” Near Eastern Musicology Online 2 2 (2013-11), 5–24 .
  25. Beyhom, Amine: “Kashf al-Asrār ʿan Karakarat al-Aḥbār fī Taʾwīl al-Adwār – كشف الأسرار عن كركرةِ الأحبار في تأويل الأدوار,” NEMO-Online 1 1 (2012-11), 67-88.
  26. Beyhom, Amine: “A new hypothesis on the elaboration of heptatonic scales and their origins”, In ICONEA 2008, Lulu on behalf of ICONEA PUBLICATIONS, LONDON-UK (London, 2010a).
  27. Beyhom, Amine: “Frettage du `ūd (luth arabe) dans la théorie musicale arabe et influence sur la pratique [the fretting of the `ūd in arabian music theory and its interaction with practice]”, In CIM 09 (Paris, 2009).
  28. Beyhom, Amine: “Point de vue : Musiques savantes de l’Orient ou le temps de la reconnaissance”, Revue des Traditions Musicales des Mondes Arabe et Méditerranéen (2007a), 13-26.
  29. Beyhom, Amine: “Des Critères d’authenticité dans les musiques métissées et de leur validation : exemple de la musique arabe”, filigrane (2007b), 63-91.
  30. Beyhom, Amine: “Dossier : Mesures d’intervalles – méthodologie et pratique”, Revue des Traditions Musicales des Mondes Arabe et Méditerranéen (2007c), 181-235.
  31. Beyhom, Amine: “Systématique modale : modélisation des échelles musicales sur une grille de 24 quarts de ton”, Antouniah (2006), 228-236.
  32. Beyhom, Amine: “Approche systématique de la musique arabe : genres et degrés système””, In De la théorie à l’Art de l’improvisation : analyse de performances et modélisation musicale, ed. Mondher Ayari, Delatour (Paris, 2005), 65-114.
  33. Beyhom, Amine: “Systématique modale : génération et classement d’échelles modales”, Musurgia (2004), 55-68.
  34. Bozkurt, Barıs: “An Automatic Pitch Analysis Method for Turkish Maqam Music”, Journal of New Music Research (2008) [doi:10.1080/09298210802259520], 1-13.
  35. Cantemir, Dimitri: “Kitāb-i ilmü’l mūsīkī ala vechi’l-hurūfāt” (Istanbul, c1700) [Manuscript].
  36. Caron, Nelly and Dariouche Safvate: Iran: les traditions musicales, Collection de l’Institut International d’Études Comparatives de la Musique, Buchet-Chastel (1966).
  37. Chabrier, Jean-Claude: “Éléments d’une approche comparative des échelles théoriques arabo-irano-turques”, Revue de Musicologie (1985) [doi:10.2307/928593], 39-78.
  38. Cohen, Dalia and Ruth Katz: Palestinian Arab music: a Maqām tradition in practice, University of Chicago Press (2006).
  39. Collectif. كتاب مؤتمر الموسيقى العربية  Kitāb muʾtamar al-mūsīqā al-ʿarabiyya [Livre du Congrès de Musique arabe]. Le Caire القاهرة: Al-Maṭbaʿa al-Amīriyya (وزارة المعارف العمومية), 1933.
  40. Collectif, ouvrage. Recueil des Travaux du Congrès de Musique Arabe qui s’est tenu au Caire en 1932 (Hég. 1350) sous le Haut Patronage de S. M. FOUAD 1er, ROI D’ÉGYPTE. Le Caire – Egypte: Imprimerie Nationale d’Egypte, 1934.
  41. Czekanowska, Anna: “Aspects of the Classical Music of Uighur People: Legend versus Reality”, Asian Music (1982) [doi:10.2307/834045], 94-110.
  42. Denny, Walter: “Music and Musicians in Islamic Art”, Asian Music (1985) [doi:10.2307/833740], 37-68.
  43. Donnan, Hastings: Interpreting Islam, SAGE (2002).
  44. During, Jean: Musiques d’Iran. La tradition en question, Librairie orientaliste Paul Geuthner (Paris, 2009a).
  45. During, Jean: “The loss of maqamic sense in Central Asia”, In Muqam in and outside of Xinjiang /China, Proceedings of the 6th Study Group Meeting Muqam 2006, Chinese uyghur classical litterature and muqam institute (Urumqi, 2009b), 91-101.
  46. During, Jean: La musique à l’esprit: enjeux éthiques du phénomène musical, L’Harmattan (Paris, 2008).
  47. During, Jean: The Radif of Mirzâ ‘Abdollâh. A canonic Repertoire of Persian Music, Mahoor (Tehran, 2006).
  48. During, Jean: “Power, Authority and Music in the Cultures of Inner Asia”, Ethnomusicology Forum (2005), 143-164.
  49. During, Jean: The spirit of sounds: the unique art of Ostad Elahi (1895-1974), Associated University Presse (2003).
  50. During, Jean: Musiques d’Asie centrale: l’esprit d’une tradition, Cité de la musique (1998).
  51. During, Jean: “Musique, Nation & Territoire en Asie Interieure”, Yearbook for Traditional Music (1993) [doi:10.2307/768681], 29-42.
  52. During, Jean: “L’organisation du rythme dans la musique de transe baloutche”, Revue de Musicologie (1990) [doi:10.2307/947264], 213-225.
  53. During, Jean: Musique et mystique dans les traditions de l’Iran, Institut français de recherche en Iran (1989a).
  54. During, Jean: The Modal System of Azerbaijani Art Music (Berlin, 1989b).
  55. During, Jean: La musique traditionnelle de l’Azerbayjan et de la science des muqams, Koerner (1988a).
  56. During, Jean: Musique et extase: l’audition mystique dans la tradition soufie, A. Michel (1988b).
  57. During, Jean: Le mythe du Simorgh dans la musique extatique du Baloutchistân (1988c).
  58. During, Jean: La musique traditionnelle de l’Azerbayjan et de la science des muqams, Koerner (1988d).
  59. During, Jean: Musique et mystique en Iran (1986).
  60. During, Jean: “Théories et pratiques de la gamme iranienne”, Revue de Musicologie (1985) [doi:10.2307/928594], 79-118.
  61. During, Jean: “La Musique Traditionnelle Iranienne en 1983”, Asian Music (1984a) [doi:10.2307/834028], 11-31.
  62. During, Jean: La musique iranienne: tradition et évolution, Éditions Recherche sur les civilisations (1984b).
  63. During, Jean and Sultonali Khudoberdiev: La voix du chamane: étude sur les baxshi tadjiks et ouzbeks, Harmattan (2007).
  64. During, Jean and Sabine Trebinjac: Introduction au muqam ouïgour, Indiana University, Research Institute for Inner Asian Studies (1991).
  65. Ederer, Eric: The Theory and Praxis of Makam in Classical Turkish Music 1910-2010, PhD dissertation, University of California, Santa Barbara (2011).
  66. Elsner, Jürgen: Maqām – Raga – Zeilenmelodik, Ed. International Council for Traditional Music. Study Group “Maqām”. Arbeitstagung, Nationalkomitee DDR des International Council for Traditional Music in Verbindung mit dem Sekretariat Internationale Nichtstaatliche Musikorganisationen (1989).
  67. Elsner, Jürgen: Der Begriff des maqām in Ägypten in neuerer Zeit, Deutscher Verlag f. Musik, VEB (1973).
  68. Elsner, Jürgen and Gisa Jähnichen: Regionale maqam-Traditionen in Geschichte und Gegenwart: Materialien der 2. Arbeitstagung der Study Group “maqām” beim International Council for Traditional Music vom 23. bis 28. März 1992 in Gosen bei Berlin, International Council for Traditional Music. Nationalkomitee der DDR. Arbeitstagung der Study Group (1992).
  69. Elsner, Jürgen and Gisa Jähnichen: Oriental music, Humboldt-Universität zu Berlin, Institut für Musikwissenschaft und Musikerziehung (1991).
  70. Elsner, Jürgen and R. Pekka Pennanen, eds.: The Structure and Idea of Maqam: Historical Approaches: Tampere 1995 (Tampere, 1997).
  71. Ergur, Ali and Yiğit Aydin: “Patterns of modernization in Turkish music as indicators of a changing society”, Musicae Scientiae (2006) [doi:10.1177/1029864906010001051], 89 -108.
  72. Erlanger, Rodolphe d’: La musique arabe, i [Al-Fārābī]; ii [Al-Fārābī and Ibn Sīnā]; iii [commentaries on Safiyy-a-d-Dīn al-Urmawī]; iv [anon. and Al-Lādhiqī]; v [scales and modes]; vi [rhythm and form], Librairie orientaliste Paul Geuthner (Paris, 1930).
  73. Erol, Ayhan: “Understanding the Diversity of Islamic Identity in Turkey through Popular Music: The Global/Local Nexus”, Social Compass (2011) [doi:10.1177/0037768611406066], 187-202.
  74. Ertan, Deniz.: “Cycles and Peripheries: An Ottoman Kitâb el Edvâr”, Asian Music (2007) [doi:10.1353/amu.2007.0017], 31-60.
  75. Farhat, Hormoz: The Dastgah Concept in Persian Music, Cambridge University Press (2004).
  76. Farmer, Henry George: “Nawba”, Encyclopedia of Islam (Leiden, 1936).
  77. Faruqi, Lois Ibsen al: “Structural Segments in the Islamic Arts: The Musical ‘Translation’ of a Characteristic of the Literary and Visual Arts”, Asian Music (1985) [doi:10.2307/834013], 59-82.
  78. Faruqi, Lois Ibsen al: The nature of the musical art of Islamic culture: a theoretical and empirical study of Arabian music, University Microfilms International (1981).
  79. Faruqi, Lois Ibsen al: “The Status of Music in Muslim Nations: Evidence from the Arab World”, Asian Music (1980) [doi:10.2307/833798], 56-85.
  80. Faruqi, Lois Ibsen Al: The Nature of musical art of islamic culture: a theoretical and empirical study of Arabian music, Xerox University Microfilms (1975).
  81. Fasī, `Abd a-r-Raḥmān (al-): Kitāb al-Jumū`fī `Ilm al-Mūsīqā wa-ṭ-Ṭubū [Livre des systèmes de la science musicale et des modes], Trans. Henry George Farmer (Glasgow, 1933).
  82. Feldman, Walter: Music of the Ottoman Court: makam, composition and the early Ottoman instrumental repertoire, VWB-Verlag für Wissenschaft und Bildung (Berlin, 1996).
  83. Feldman, Walter: “Ottoman Sources on the Development of the Taksîm”, Yearbook for Traditional Music (1993) [doi:10.2307/768680], 1-28.
  84. Feldman, Walter: “Cultural Authority and Authenticity in the Turkish Repertoire”, Asian Music (1990) [doi:10.2307/834291], 73-111.
  85. Gholmieh, Walid, Toufic Kerbage, and Antoun Farah: Naẓariyyāt al-Mūsīqā A-sh-Sharqī `Arabiyya, CNSMB – Conservatoire National Supérieur de Musique de Beyrouth (Beyrouth, 1996).
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  91. Guettat, Yassine: Evolution historique & mutations morphologiques du “mâlûf” tunisien: (le cas de la “Nûba Raçd al-dhîl”) (2009).
  92. Hashim Muhammad (a-r-) Rajab: Al-Maqām al-`Irāqiyy, Maṭba`t al-Ma`ārif (Baghdad, 1961).
  93. Hélou, Sélim: Al-Mūsīqā an-Naẓariyya (La musique théorique), 2nd ed., Dār al-Ḥayāt (Beyrouth, 1972).
  94. الحفني, محمود أحمد, et Maḥmūd Aḥmad Ḥifnī (al-). الموسيقى النظرية. Vol. Theorie Musique Arabe. دار الكتب, 1972.
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  96. Hyer, Brian: “Tonality”, Grove Music Online.
  97. Idelsohn, Abraham Z.: “Die Maqamen der arabischen Musik”, SIMG (1913), 1-63.
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  102. Leoni, Stefano A. E.: “Kanz al-Tuhaf (Al-Musiqi). The Casket of (Music) Rarities: Ars Musica and Musica Practica between Islam and Christianity”, International Review of the Aesthetics and Sociology of Music (1996) [doi:10.2307/3108345], 167-183.
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  114. Mahdī (al-)‎, Muḥammad Ṣāliḥ الدكتور صالح المهدي: ايقاعات الموسيقى العربية واشكالها. Maʿārif lil-ǧamīʿ, 1990.
  115. Al-Mallah, Issâm. « Rythmes arabes : entre notation et pratique ». In Musique arabe : le congrès du Caire de 1932, 161‑80. Le Caire – Egypte: CEDEJ, 1992.
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  117. El-Mallah, Issam. Omani Traditional Music and the Arab Heritage. H. Schneider, 2002.
  118. El-Mallah, Issam, et Markaz ʻUmān lil-Mūsīqá al-Taqlīdīyah. Arab Music and Musical Notation. Hans Schneider Verlag, 1997.
  119. Mallah (el-), Issam. Arabische Musik und Notenschrift. Münchner Veröffentlichungen zur Musikgeschichte ; Bd. 53, 1996.
  120. Marcus, Scott L.: “Modulation in Arab Music: Documenting Oral Concepts, Performance Rules and Strategies”, Ethnomusicology (1992) [doi:10.2307/851913], 171-195.
  121. Marcus, Scott L.: “The Periodization of Modern Arab Music Theory: Continuity and Change in the Definition of Maqamat”, Pacific Review of Ethnomusicology (1989), 33-48.
  122. Marcus, Scott Lloyd: Arab music theory in the modern period (Egypt, Syria, Lebanon, Maqam), PhD Thesis, University of California (1989).
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