tag:blogger.com,1999:blog-1698420340788655210.post3843607528798410154..comments2024-01-05T14:01:50.208+01:00Comments on Anthems for the Nation of Luobaniya • 罗巴尼亚国歌: 2ème Festival Algerien de la Musique Andalouse 1969 Volume 1:5bolingo69http://www.blogger.com/profile/17775705045849021022noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-1698420340788655210.post-89615549414709927162011-04-17T12:43:15.890+02:002011-04-17T12:43:15.890+02:00Anonymous were asking if there are associations of...Anonymous were asking if there are associations of time, mood, colour, season etc. in the "pieces". There are certainly such connotations but I find it hard to go into any real detail in these comments.<br /><br />Let me just quote from a passage in one of the accompanying leaflets to the magnificent "Anthology "Al-Âla" - Musique Andaluci-Marocaine". Published in 11 volumes of 6-8 CD's per Nûbâ. <br />Quaint as it may be the English rendering of the notes originally written in French are certainly better than any google translation. Not being a native speaker of either language I refrain from changing any of their wording but I guess I might caution you that the word used "humour" may be better understood as "mood" or "sentiment"., and the order of words is not always the smoothest...<br /><br />Anyhow It reads as follows:<br /><br />"Shajarat al-tubû" or the modal tree<br /><br />According to ancient theories, the 25 Moroccan modes or tubûc are divided between principal modes or usûl (sg. asl) and furuc or derived modes and represented by a tree diagram.<br /><br />There are five usûl: dhil, zaydân, mâya, mazmûm from which derive all the modes of Andalusian Moroccan music, and al-gharîba al-muharrara, <br />single asl from which no other mode derives. <br /><br />Each of the first four principal modes has a corresponding complexion <br />or humour (melancholy, phlegm, blood and choler), <br />an element (earth, water, air, fire), <br />a season and hence a vein of being or "modal feeling" which is conveyed to its derivatives.<br /><br />This theoretical representation was expressed in the<br />16th century in a long poem by Abdelwahed al-Wansharîsî. The first verse, "The universe is composed of four characters..."sums up perfectly the cosmogenic theory of this dividing up of modes. <br />In today's al-ala repertoire, the choice of modes of each nûbâ involves a constant crossing over between these different categories. For example, the nûbâ al-rasd is based on the rasd mode derived from asl mâya and employs as secondary modes the asl saydân, its derivative lahsâr and asl mazmûm. This cross-referencing results in a diversity of expressive <br />colouring for each nûbâ.<br /><br /><br />Table showing tubuc divisions according to ancient theory<br /><br />Asl: Dhîl Zaydân Mâya Mazmûm<br /> <br />FuruC ciraq al-°ajam isbihän rasd gharîbat al-husayn<br /> <br /> ciraq alcarab al-hijâz al-kebîr ramal-al-mâya hamdan<br /> rasd al-dhîl al-hijâz al-msharqi inqilab ramal mejannabu-al-dhîl<br /> îstihlâl lahsâr (al-hisâr) sîka msharqî al-saghîr<br /> msharqî zawarkand<br /> raml dhîl cushshâq<br /> <br />humour melancholy phlegm blood choler<br /> <br />element earth water air fire<br /><br />season Autumn Winter Spring Summer<br /><br />"isolated asl" al-gharîba al-muharrara<br /><br /><br /><br />The table may make more sense, and line up better if you copy it to your text-editor or word processor of choice.<br /><br />There are some very good books and articles written on the Arabo-Andalusian music but most is in Arabic and French. Let me suggest just three useful books if you want to dive deeper than Wikipedia into this subject (again the French is a little better than the English version).<br /><br />The first one is an introductory volume that is in no way shallow but not too academic. The other two can be more demanding but are quite full of dependable and useful information.<br /><br />Christian Poché - Musique arabo-andalouse, Paris, Cité de la Musique, Arles, Actes Sud, 1995, 155 p. et 1 CD audio (ISBN 2742735046)<br /><br />Mahmoud Guettat - La musique arabo-andalouse. L'empreinte du Maghreb.: Tome 1.<br />Montréal : Fleurs Sociales, 2000, 528 p<br />ISBN/ISSN/EAN : 2-920540-26-2<br /><br />Mahmoud Guettat - La Musique classique du Maghreb. Paris : Sindbad, 1980. Description, : 398 p<br /><br />Hope that is useful to someone...bolingo69https://www.blogger.com/profile/17775705045849021022noreply@blogger.comtag:blogger.com,1999:blog-1698420340788655210.post-38896121296032159322011-04-16T17:39:13.232+02:002011-04-16T17:39:13.232+02:00are there time-of-day or time-of-year associations...are there time-of-day or time-of-year associations with these pieces as (according to what I read, anyway) there would be with Iranian dastgah or Indian raga? i remember reading that in the old days, a complete Nuba would take a day or several days to complete. and i think at that time they talked about various associations at least with mood, color, season, but i don't remember...? <br /><br />thank you.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-1698420340788655210.post-1121732042393885052011-04-16T13:48:38.385+02:002011-04-16T13:48:38.385+02:00Thank you for being delighted and for your praise ...Thank you for being delighted and for your praise ;-)bolingo69https://www.blogger.com/profile/17775705045849021022noreply@blogger.comtag:blogger.com,1999:blog-1698420340788655210.post-69084514820723211862011-04-16T12:47:10.036+02:002011-04-16T12:47:10.036+02:00Bravo, bolingo! Great treasures indeed...Bravo, bolingo! Great treasures indeed...AmbroseBiercehttps://www.blogger.com/profile/13807678107886913844noreply@blogger.comtag:blogger.com,1999:blog-1698420340788655210.post-89136421922981217232011-04-16T10:05:07.837+02:002011-04-16T10:05:07.837+02:00Great series, thanks a lot Bolingo!Great series, thanks a lot Bolingo!Janashttps://www.blogger.com/profile/05037697023331808307noreply@blogger.com