Featured

The 2022 Frances Densmore Prize awarded to NEMO-Online Chief Editor and CERMAA Director Amine Beyhom

We are delighted at NEMO-Online and CERMAA to announce that Amine Beyhom, Chief Editor of NEMO-Online and Director of the CERMAA, was awarded the 2022 Frances Densmore Prize by the American Musical Instrument Society for his 2020 Dossier on the ʿūd in NEMO-Online.

The award announcement stands:

The Frances Densmore Prize is awarded annually for the best article-length publication in English that furthers the goals of the Society. The 2022 Densmore Prize is awarded to Amine Beyhom for his article “Was the Early Arabian ‘Ūd ‘Fretted’?” published in Near-Eastern Musicology Online 5, no. 9 (November 2020).

“Was the Early Arabian ‘Ūd ‘Fretted’?” is “an erudite and impressive piece of scholarship. The author persuasively demonstrates that the early ʿūd was unfretted but that tie-frets may have been used for teaching or training purposes. Beyhom’s argument has important implications for not just Islamic and Western organology but indeed for the critical work of recognizing early Arabian treatises on praxis as central to the development of Greek and, therefore, to the development of European musical systems. The extraordinary analysis of primary source material that made this article stand out within a strong field of candidates exemplifies crucial considerations in organology, musicology, and music theory today.”

Amine Beyhom trained as a civil engineer as well as a musician (guitars and bass) and a composer. After obtaining his MA from the École Nationale des Ponts et Chaussées (ENPC) in Paris, he worked as a research engineer in France, then changed the course of his life to become a professional musician and composer, firstly in France then in Lebanon, while learning the ʿūd and founding his own music production company. He completed his PhD in 2003 at the Sorbonne University, Paris, and his Habilitation at the same university in 2010. He later received the title of Professor in Music and Musicology.

Dr. Beyhom has published articles on numerous topics including Byzantine chant, the theory of music, and Orientalism in musicology. He has taught at universities in Lebanon and France, and in 2011 he founded the Centre for Research on the Music of Arabian and Akin countries (CERMAA), which he still leads. In 2018 he established [the] VIAMAP (the Video Animated Music Analysis Project), which has produced more than sixty video analyses. He was awarded the Lois Ibsen Al-Faruqi triennial Award by the Society for Ethnomusicology in 2017. He is active as a music analyst and videographer, as Chief Editor of Near-Eastern Musicology Online, and as the head of the CERMAA research center. He is delighted to conduct workshops with international students on various themes, the last to date (before Covid) being about Artificial Intelligence and Music.

Featured

In memoriam Katy Romanou / Publication internet et version imprimée du NUMÉRO SPÉCIAL DE NEMO-ONLINE / SPECIAL ISSUE of NEMO-ONLINE now online and in print

In Memoriam Katy Romanou

Available in free pdf version here.

Available in print version (paperback) here.

Contents / Articles

  • Andriana SOULELE
    • THE CHORUS REFORMATION IN MODERN PERFORMANCES OF ANCIENT GREEK TRAGEDY AFTER 1945: The Suppliants (1964) of Iannis Xenakis and The Persians (1965) of Jani Christou … p.1
  • Apostolos PALIOS
    • ANALYTICAL AND INTERPRETATIVE APPROACH: Yorgo Sisilianos’s Works for Two Pianos … p.19
  • Christina GIANNELOU
    • MY 20 YEARS LIFE TRIP: Between Katy Romanou and Rena Kyriakou … p.43
  • Lampros EFTHYMIOU
    • A BIBLIOGRAPHICAL REVIEW AND COMPARATIVE STUDY: Musical-Poetical Structural Analysis of Greek Folk-Songs … p.67
  • Lorenda RAMOU
    • KATY ROMANOU S’EXPRIME: L’oeuvre pour Piano de Nikos Skalkottas à Travers une Co-Direction de Thèse de Doctorat … p.87
  • Nektaria DELVINIOTI-VASILEIOU
    • MANOLIS KALOMIRIS: His Relationship with Dr. Erwin Felber and Βéla Bélai in the Forties and the Fifties … p.95
  • Penelope PAPAGIANNOPOULOU
    • GREEKNESS IN NIKOS SKALKOTTAS’ CHAMBER MUSIC: An Analytical View of Issues of Modal and Idiomatic Structural Issues … p.101
  • Kostas KARDAMIS
    • A SCOT BARD IN EUROPEAN SOUTH: Dionisios Rodotheato’s Opera Oitona (1876) … p.139
  • Amine BEYHOM
    • ART MUSICS OF THE ORIENT: Or the Time for Recognition … p.147

English

Katy Romanou (Kaitē Rōmanou) was born in 1939, Athens and died in May 2020.

She studied at Indiana University where she was granted a Masters degree in musicology and pursued her studies at the University of Athens where she was awarded a Ph.D. in musicology. She was a music critic for the daily newspaper He Kathemerine (1974-1986), and was on the editorial boards of Greek periodicals Musicologia and Polyphonia. She was also a founding member of the Hellenic Musicological Society where she remained active until her death. Katy published extensively in Greek and English and contributed to many publications. She gave lectures on Greek music in the United States of America, at the City University of New York, Yale University, University of Florida at Gainesville and at the University of Missouri, St. Louis. She taught music history and music theory at several conservatories in Greece before holding a professorship chair at the National and Kapodistrian University of Athens (UoA – Εθνικόν και Καποδιστριακόν Πανεπιστήμιον Αθηνών), and later at the European University of Cyprus (Ευρωπαϊκό Πανεπιστήμιο ‎Κύπρου).

She was always trying to link people together through music and research, especially in her main fields of interest which were Greek music and the Byzantine world. Katy believed in the essential role of the Balkan countries in the shaping of the history of musicology and strongly fought to bind the Balkans to Western music history.

When we met her in Cyprus during a colloquium, we were pleased to discuss with her during the coffee breaks about several musicological issues and we understood at CERMAA how sharp her mind was and how much work she still wanted to achieve. It was with great sadness that we read about her death. Her loss was untimely for all but especially to the world of musicology. 

French

Katy Romanou (Kaitē Rōmanou) est née en 1939 à Athènes, et décédée en Mai 2020.

Elle a obtenu son Master en Musicologie à l’Université de l’Indiana puis son doctorat à l’Université d’Athènes. Elle fut critique musicale pour le quotidien He Kathemerine (1974-1986) et membre des comités d’édition des revues grecques Musicologia et Polyphonia. Elle fut aussi membre fondateur de la Hellenic Musicological Society au sein de laquelle elle poursuivit ses activités jusqu’à son décès.

Katy publia extensivement en Grec et en Anglais, et donna des conférences et des cours sur la musique grecque aux États-Unis, notamment à la City University of New York, à la Yale University, à l’Université de Floride (‎Gainesville) et à l’Université du Missouri (St. Louis). Elle enseigna l’histoire et la théorie de la musique dans plusieurs conservatoires en Grèce avant d’obtenir une chaire de professeur à l’Université Nationale et Capodistrienne d’Athènes (Εθνικόν και Καποδιστριακόν Πανεπιστήμιον Αθηνών), et plus tard à l’Université Européenne de Chypre (Ευρωπαϊκό Πανεπιστήμιο ‎Κύπρου).

Katy favorisa toujours les rencontres intellectuelles entre musiciens et entre chercheurs, tout particulièrement dans les deux domaines qui lui tenaient à cœur, la musique grecque et le monde byzantin. Elle croyait au rôle essentiel des pays balkaniques dans le façonnement de l’histoire de la musicologie, et se battit résolument pour relier les Balkans à l’histoire de la musique occidentale.

Nous l’avions rencontrée à Chypre, à l’occasion d’un colloque, et avions eu le plaisir de discuter avec elle de divers sujets musicologiques pendant les pauses-café. C’est là que nous avions compris à quel point sa réflexion sur la musicologie était acérée, ainsi que l’étendue du travail qu’elle s’attendait encore à accomplir. C’est avec une grande tristesse que nous avons appris la nouvelle de sa mort, une vraie perte pour tous ceux qui la connaissaient, et plus particulièrement pour la musicologie.

Featured

NEMO-Online Vol. 6 No. 10 is online / Mise en ligne de NEMO-Online Vol. 6 n°10

English

NEMO-Online is delighted to announce the publication of issue No. 10, with three articles by Amine Beyhom (English), Jean During (English) and Hanene Gharbi (حنان الغربي – Arabic).

Amine Beyhom: “Further Analyses from the VIAMAP,” Near Eastern Musicology Online 6 10 |2021-11| p. 5–36.

The article is a sequel to two already published articles, “MAT for the VIAMAP” and “The Lost Art of Maqām”, with 4 new video analyses and two explicative videos.

“[With this article and analyses, the author has] opened a completely novel way of scientific enquiry in musicology.”

Wim van der Meer

__________

Jean During: “An Indo-Persian musical treatise: The Tebb-e Dārā Shokuhi, 1646,” Near Eastern Musicology Online 6 10 |2021-11| p. 37–46.

The Tebb-e Dārā Shokuhi is a medical treatise written by a Persian scholar of the Mughal court. It includes a chapter on the art of music considered in particular for its therapeutic properties. The article highlights principal points of this text and identifies its many borrowings from earlier music treaties. The author, who was born in India, had the opportunity to compile these sources, which attest of the wide diffusion in Northern India of the Persian musical culture and of the Greater Khorasan.

__________

Hanene Gharbi (حنان الغربي): “تحليل الخطاب الموسيقي لمحمد عبد الوهّاب من خلال أغنية أنت عمري”, Near Eastern Musicology Online 6 10 |2021-11| p. 47–87.

The author proposes a stylistic study of the song “Anta ʿUmrī” composed par Muḥammad ʿAbd-al-Wahhāb and sung by Umm Kulthūm. Through techniques used by the composer along with Kulthūm’s interpretation, she demonstrates the coexistence within the song of traditional and modern elements. Additionally, she proposes the complete score of a performance of this song which is accessible on the web.

__________

Français

Nemo-Online a le plaisir d’annoncer la publication du n°10 de la revue, avec trois articles par Amine Beyhom (en Anglais), Jean During (en Anglais) et Hanene Gharbi (حنان الغربي – en Arabe).

Amine Beyhom: “Further Analyses from the VIAMAP,” Near Eastern Musicology Online 6 10 |2021-11(04)| p. 5–36.

L’article est la continuation de deux précédents articles par l’auteur, “MAT for the VIAMAP” et “The Lost Art of Maqām”, avec 4 nouvelles analyses vidéo et deux vidéos explicatives.

“[Avec cet article et ces analyses, l’auteur] a initié une méthode complètement nouvelle d’investigation scientifique en musicologie.”

Wim van der Meer

__________

Jean During: “An Indo-Persian musical treatise: The Tebb-e Dārā Shokuhi, 1646,” Near Eastern Musicology Online 6 10 |2021-11| p. 37–46.

Le Tebb-e Dārā Shokuhi est un traité de médecine d’un Persan de la cour moghole. Il comporte un chapitre sur l’art musical envisagé notamment pour ses propriétés thérapeutiques. L’article fait ressortir les points originaux de ce texte et relève ses nombreux emprunts à des traités de musique antérieurs. L’auteur, qui était né en Inde, avait eu la possibilité de compiler ces sources, ce qui témoigne de la large diffusion en Inde du Nord de la culture musicale de Perse et du Grand Khorasan.

__________

Hanene Gharbi (حنان الغربي): “تحليل الخطاب الموسيقي لمحمد عبد الوهّاب من خلال أغنية أنت عمري”, Near Eastern Musicology Online 6 10 |2021-11| p. 47–87.

L’auteure propose une étude de style sur la chanson “Anta ʿUmrī” composée par Muḥammad ʿAbd-al-Wahhāb et chantée par Umm Kulthūm. Elle démontre, à travers les techniques employées par le compositeur – alliées à l’interprétation de la chanteuse –, une coexistence au sein de la chanson entre phrasés traditionnels et modernes. Elle propose également la partition complète d’une interprétation de cette chanson accessible sur internet.

Featured

New Article by Amine Beyhom and Hamdi Makhlouf: A VIAMAP exploration of the Tunisian ṭubūʿ

A new article by Amine Beyhom and Hamdi Makhlouf, entitled “A VIAMAP exploration of the Tunisian ṭubūʿ“, was published online on June 2 2021 on the site of the CTUPM (CTUPM – Tunisian Center of Musicological Publication). The article is also available as a pdf publication, with direct access to the videos, which include video analyses (seven for fourteen ṭabʿ or modes) and videos made from Power Point shows of analyses of the scales of the ṭubūʿ of Tunisian music, included in the CD 1 accompanying the book of Manoubi Snoussi Initiation à la musique tunisienne: Musique classique with 3 CDs, Tunis: Centre des Musiques Arabes et Méditerranéennes Ennejma Ezzahra.

The article is the continuation of three previous articles by the first author concerning the new (video) tools used by the CERMAA team for the analysis of maqām performances. Knowing that the notation and scale tools used in maqām analysis are biased as they are based on the ideological premises of Western musicology, video animated analyses become one alternative way of analysing maqām and other musics – especially solo performances.

While previous VIAMAP (Video Animated Music Analysis Project) analyses concentrated mainly on more complex performances with numerous modulations and musical or vocal and instrumental techniques, the video analyses proposed in this article concern more simple performances, which develop generally one single ṭabʿscale with few modulations.

Each main video shows the analysis of two successive istikhbār(s) each in a different ṭabʿ (a Tunisian maqām), the first being performed on the r[a]bāb by Muḥammad Ghānim (Figure 1 below), and the second on the ʿūd °ʿarbī° – the two “degree” signs surrounding a word indicate that this term is transliterated from Tunisian vernacular; the ʿūd °ʿarbī° would be thus, in standard Arabic, the “ʿūd ʿarabiyy” – by °Khmayyis° Tarnān (Figure 2 below).

Figure 1. Muḥammad Ghānim ‎and his rabāb at the 1932 Congrès du Caire

Figure 2. °Khmayyis° Tarnān ‎and his ʿūd °‎ʿarbī° at the 1932 Congrès du Caire

A special page with all the videos and additional explanations was added in the VIAMAP website, entitled Tunisian ṭubūʿ.

Featured

New article by / Nouvel article par / Amine Beyhom (Nemo-Online Vol. 6 No. 10-1): “Further Analyses from the VIAMAP”

English

NEMO-Online is delighted to announce the publication of Amine Beyhom’s new article entitled: “Further Analyses from the VIAMAP”.

The article is a sequel to two already published articles, “MAT for the VIAMAP” and “The Lost Art of Maqām”, with 4 new video analyses and two explanatory videos.

[With this article and analyses, the author] has opened a completely novel way of scientific enquiry in musicology.

Wim van der Meer

Amine Beyhom: “Further Analyses from the VIAMAP,” Near Eastern Musicology Online 6 10 |2021-11(04)| p. 5–36.

Additional material:

Explanatory videos:

Français

Nemo-Online a le plaisir d’annoncer la publication du nouvel article d’Amine Beyhom “Further Analyses from the VIAMAP”.

L’article est la continuation de deux précédents articles par l’auteur, “MAT for the VIAMAP” et “The Lost Art of Maqām”, avec 4 nouvelles analyses vidéo et deux vidéos explicatives.

[Avec cet article et ces analyses, l’auteur] a initié une méthode complètement nouvelle d’investigation scientifique en musicologie.

Wim van der Meer

Amine Beyhom: “Further Analyses from the VIAMAP,” Near Eastern Musicology Online 6 10 |2021-11(04)| p. 5–36.

Matériau additionnel:

Vidéos explicatives:

Featured

NUMÉRO SPÉCIAL DE / NEMO ONLINE / SPECIAL ISSUE

In Memoriam Katy Romanou

English

Katy Romanou (Kaitē Rōmanou) was born in 1939, Athens and died in May 2020.

She studied at Indiana University where she was granted a Masters degree in musicology and pursued her studies at the University of Athens where she was awarded a Ph.D. in musicology. She was a music critic for the daily newspaper He Kathemerine (1974-1986), and was on the editorial boards of Greek periodicals Musicologia and Polyphonia. She was also a founding member of the Hellenic Musicological Society where she remained active until her death. Katy published extensively in Greek and English and contributed to many publications. She gave lectures on Greek music in the United States of America, at the City University of New York, Yale University, University of Florida at Gainesville and at the University of Missouri, St. Louis. She taught music history and music theory at several conservatories in Greece before holding a professorship chair at the National and Kapodistrian University of Athens (UoA – Εθνικόν και Καποδιστριακόν Πανεπιστήμιον Αθηνών), and later at the European University of Cyprus (Ευρωπαϊκό Πανεπιστήμιο ‎Κύπρου).

She was always trying to link people together through music and research, especially in her main fields of interest which were Greek music and the Byzantine world. Katy believed in the essential role of the Balkan countries in the shaping of the history of musicology and strongly fought to bind the Balkans to Western music history.

When we met her in Cyprus during a colloquium, we were pleased to discuss with her during the coffee breaks about several musicological issues and we understood at CERMAA how sharp her mind was and how much work she still wanted to achieve. It was with great sadness that we read about her death. Her loss was untimely for all but especially to the world of musicology. 

We would like to invite you all for the publication of a liber amicorum in her memory to honour her years of teaching, her research activities and the outcomes to the questions she raised in her lifetime which contributed to shape a better musicology.

We would invite all interested contributors to write a paper related to Greek music or Byzantine chant. However, we would accept other themes. Non-academic individuals who wish to contribute to this special edition of NEMO are welcome with any kind of text such as tributes, memories, ideas, etc., about Katy Romanou, her teaching or her work.

Texts are welcome in English and French languages only. Contributors can find NEMO editing guidelines at this web address: http://nemo-online.org/guidelinesnormes.

The deadline for submitting propositions is set to the end of December 2020.

We expect to release this special volume around April 2021.

French

Katy Romanou (Kaitē Rōmanou) est née en 1939 à Athènes, et décédée en Mai 2020.

Elle a obtenu son Master en Musicologie à l’Université de l’Indiana puis son doctorat à l’Université d’Athènes. Elle fut critique musicale pour le quotidien He Kathemerine (1974-1986) et membre des comités d’édition des revues grecques Musicologia et Polyphonia. Elle fut aussi membre fondateur de la Hellenic Musicological Society au sein de laquelle elle poursuivit ses activités jusqu’à son décès.

Katy publia extensivement en Grec et en Anglais, et donna des conférences et des cours sur la musique grecque aux États-Unis, notamment à la City University of New York, à la Yale University, à l’Université de Floride (‎Gainesville) et à l’Université du Missouri (St. Louis). Elle enseigna l’histoire et la théorie de la musique dans plusieurs conservatoires en Grèce avant d’obtenir une chaire de professeur à l’Université Nationale et Capodistrienne d’Athènes (Εθνικόν και Καποδιστριακόν Πανεπιστήμιον Αθηνών), et plus tard à l’Université Européenne de Chypre (Ευρωπαϊκό Πανεπιστήμιο ‎Κύπρου).

Katy favorisa toujours les rencontres intellectuelles entre musiciens et entre chercheurs, tout particulièrement dans les deux domaines qui lui tenaient à cœur, la musique grecque et le monde byzantin. Elle croyait au rôle essentiel des pays balkaniques dans le façonnement de l’histoire de la musicologie, et se battit résolument pour relier les Balkans à l’histoire de la musique occidentale.

Nous l’avions rencontrée à Chypre, à l’occasion d’un colloque, et avions eu le plaisir de discuter avec elle de divers sujets musicologiques pendant les pauses-café. C’est là que nous avions compris à quel point sa réflexion sur la musicologie était acérée, ainsi que l’étendue du travail qu’elle s’attendait encore à accomplir. C’est avec une grande tristesse que nous avons appris la nouvelle de sa mort, une vraie perte pour tous ceux qui la connaissaient, et plus particulièrement pour la musicologie.

Nous désirons inviter tous ceux qui souhaiteraient participer à la publication d’un liber amicorum en sa mémoire, pour honorer ses années d’enseignement et de recherche ainsi que ses réalisations, ses propositions et les questions soulevées par ses écrits, et qui ont contribué à donner une forme nouvelle, meilleure, à la musicologie.

Nous invitons les futurs contributeurs à proposer des articles sur la musique grecque ou sur le chant byzantin, sachant que d’autres thèmes peuvent être abordés. Les personnes en dehors du réseau académique et qui désireraient contribuer à ce numéro spécial de NEMO sont encouragées à proposer des textes non-académiques sous la forme d’hommages, d’idées ou de souvenirs de Katy Romanou, de son travail ou de son enseignement.

Les deux langues acceptées pour les textes proposés à la publication sont l’Anglais et le Français. Les normes de publication sont disponibles sur http://nemo-online.org/guidelinesnormes. ‎

La date de limite de proposition des textes est fixée à la fin Décembre 2020.

Nous envisageons de publier ce numéro spécial aux alentours d’Avril 2021.‎

Featured

CERMAA Director Amine Beyhom awarded the 2017 Lois Ibsen Al-Faruqi Prize / Le prix 2017 Lois Ibsen Al-Faruqi décerné au Directeur du CERMAA Amine Beyhom

English

We are delighted at CERMAA to announce that Amine Beyhom, director of the CERMAA, was awarded on the 28th of October 2017, by the Society for Ethnomusicology, the Lois Ibsen Al-Faruqi Prize for the year 2017. The prize is awarded every three years.

The video of the presentation speech is available at https://www.facebook.com/TheSocietyForEthnomusicology/videos/1601780733223099/ : 1:27:20-1:29:04. (The excerpt can be directly watched at http://foredofico.org/CERMAA/wp-content/uploads/2017/12/SEM_2017-General-Membership-Meeting-1601780733223099-12.mp4)

Transcribed excerpt from Katherine Butler Schofield’s presentation speech:

It’s an enormous privilege in this year, of all years, to announce the winner of the 2017 Lois Ibsen Al-Faruqi prize, which is bestowed to recognize the scholarly contributions of an individual music scholar or music institution in the Islamic world. The committee, constituted by Laudan Nooshin as chair […] and other members, which are Jonathan Glasser and myself, we are delighted to award the Lois Ibsen Al-Faruqi prize this year to Amine Beyhom […]. Amine Beyhom is an impressive Lebanese scholar who has taken on a broad comparison project that links musical traditions that are at the historical heart of the Islamic world. He has engaged seriously with a huge geographical and historical range of musical practices, and has built up a broad network of colleagues in the Arabic speaking world and in France. He has clearly had a long-term influence on musicology and ethnomusicology, and giving him this award is both an honor for him, and an opportunity for him to engage more closely with English-speaking colleagues, particularly in the growing field of historical ethnomusicology. And as well as the work in itself, we were impressed by the number and range of letters that we received in support of his nomination. Please, give him a round of applause, in absentia [applause].

Amine Beyhom would like to express his heartfelt thanks to all the persons and institutions who nominated him for this prize.

Français

Le CERMAA a le plaisir d’annoncer qu’Amine Beyhom, directeur du CERMAA, a reçu le 28 Octobre 2017, de la Society for Ethnomusicology, le Prix Lois Ibsen Al-Faruqi pour l’année 2017. Le prix est décerné tous les trois ans.

La video comprenant le discours de description du prix et du lauréat est disponible à https://www.facebook.com/TheSocietyForEthnomusicology/videos/1601780733223099/ : 1:27:20-1:29:04. (L’extrait est directement visible à http://foredofico.org/CERMAA/wp-content/uploads/2017/12/SEM_2017-General-Membership-Meeting-1601780733223099-12.mp4)

Traduction de l’extrait (texte de présentation du Prix Lois Ibsen Al-Faruqi 2017 par Katherine Butler Schofield):

C’est un énorme privilège, et particulièrement cette année, d’annoncer le lauréat du Prix Lois Ibsen Al-Faruqi 2017, qui est décerné pour reconnaître la contribution académique d’un chercheur ou d’une institution du monde islamique en musique. Le comité, constitué de Laudan Nooshin en tant que présidente […], et d’autres membres qui sont Jonathan Glasser et moi-même, nous réjouissons de décerner le Prix Lois Ibsen Al-Faruqi à Amine Beyhom […]. Amine Beyhom est un chercheur libanais impressionnant qui a entrepris un vaste projet comparatif qui relie entre elles des traditions musicales qui se situent au cœur du monde islamique. Il s’est impliqué profondément dans un très large panel, historique et géographique, de pratiques musicales et a développé un réseau étendu de collègues dans le monde arabe et en France. Il a clairement influencé durablement la musicologie et l’ethnomusicologie, et l’octroi de ce prix est aussi bien un honneur qu’une incitation pour lui à s’impliquer plus étroitement avec ses collègues de langue anglaise, plus particulièrement dans le domaine en expansion de l’ethnomusicologie historique. Et, autant que par la qualité de l’œuvre en soi, nous avons été impressionné.e.s par le nombre et l’éventail de lettres que nous avons reçues en soutien à sa nomination. Veuillez l’applaudir, in absentia.

Amine Beyhom remercie de tout cœur les personnes et les institutions qui l’ont nominé pour ce prix.

(Reminder and deadline extension) NUMÉRO SPÉCIAL DE / NEMO ONLINE / SPECIAL ISSUE

NEMO-Online would like to inform potential authors for the NEMO-Online Special Issue “In Memoriam Katy Romanou” (below) that the deadline for submitting propositions of texts is extended till the end of March 2021. / NEMO-Online souhaite informer les auteurs potentiels d’hommages et d’articles pour le numéro spécial “In Memoriam Katy Romanou” (description en fin d’annonce) que la date limite de proposition de textes est étendue jusqu’à fin Mars 2021.

The Editors / Les éditeurs

The call for papers of the special issue is available at / l’appel à communication du numéro spécial est accessible à / http://nemo-online.org/archives/1846.

NEMO-Online Vol. 5 Nos 8&9 available / Mise en ligne et publication de NEMO-Online Vol. 5 n°8&9

NEMO-Online Vol. 5 Nos. 8&9 is now available for downloading and as hardcover (links below) / Le Vol. 5 nos 8&9 de NEMO-Online est disponible pour téléchargement et en version cartonnée imprimée (liens ci-dessous).

All pdf articles in theses volumes are available individually at http://nemo-online.org/articles and bookmarked for titles, subtitles and figures / tous les articles au format pdf de ces volumes sont téléchargeables individuellement à http://nemo-online.org/articles et contiennent des marque-pages correspondant aux titres, sous-titres et figures.

NEMO-Online Vol. 5

Editor’s letter / Éditorial / كلمة الناشرين p. i-xii

NEMO-Online No. 8 (Vol. 5)

  • 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.
    • Accompanying material:
      • One video analysis of Yā Nasīm a-ṣ-Ṣabā performed by ʿAlī Maḥmūd and violinist Sāmī a-sh-Shawwā with an additional third-tempo version (see also below)
      • Three previously published video analyses:
        • Video analysis of “Akh tagorye hʾashyrie” (Syriac Orthodox Chant) sung by Evelyne Daoud
        • Video analysis of an improvisation for the ʿūd played in maqām Ṣabā by Hamdi Makhlouf
        • Video analysis in 3D of a Huseynî Taksim performed by Neyzen Tevfik
      • Slide-projection based video explaining heterophony through the use of audio editing and mixing tools with four extracts from songs
  • Nemo-Online No. 8 proposes a first set of Books and CD reviews. 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.

NEMO-Online No. 9 (Vol. 5)

  • Ozan Yarman: “Search for an Optimal Tonal-System for an Authentic Turkish Soundscape,” Near Eastern Musicology Online 5 9 |2020-11| p. 73–111.
    • Additional material: Zip file containing relevant MS Excel files
  • Amine Beyhom: “Dossier: Was the Early Arabian ʿūd ‘fretted’?,” Near Eastern Musicology Online 5 9 |2020-11| p. 113–196.
    • Additional material:
      • Video no. 1 (YouTube publication) entitled Fretting of the ʿūd according to (al-) Kindī,‎ ‎ ‎and showing the stringing and positioning of the frets ‎as explained by (al-) Kindī, for both a “Harmonic” ‎and a Pythagorean tunings;
      • Video no. 2 (YouTube publication) entitled Fretting of the ʿūd according to Ibn a-ṭ-Ṭaḥḥān and showing the same procedure but with one set of strings described by (ibn a-ṭ-) Ṭaḥḥān.

Vol. 5 Nos. 8&9 (pdf).

Vol. 5 Nos. 8&9 (hardcover/version papier).

Previous volumes / Volumes précédents / الأعداد السابقة /

Note: we use at NEMO-Online the CharisSIL font / nous utilisons à NEMO-Online la police CharisSIL / http://www.fon.hum.uva.nl/praat/CharisSIL-4.110.zip / also available at / également téléchargeable à / http://www.fon.hum.uva.nl/praat/download_win.html.

New article by Amine Beyhom (Nemo-Online Vol. 5 No. 9-2): “Dossier: Was the Early Arabian ʿūd ‘fretted’?”

English

NEMO-Online is delighted to announce the publication of Amine Beyhom’s new Dossier entitled: “Was the Early Arabian ʿūd ‘fretted’”. In this dossier, Amine Beyhom follows his thoughts about musicological Orientalism and dissects what he considers as a fabrication of orientalist musicology, the ‘fretting’ of the Arabian ʿūd at the dawn of Islam.

Amine Beyhom: “Dossier: Was the Early Arabian ʿūd ‘fretted’?,” Near Eastern Musicology Online 5 9 |2020-11| p. 113–196.

Additional material:

  • Video no. 1 (YouTube publication) entitled Fretting of the ʿūd according to (al-) Kindī,‎ ‎ ‎and showing the stringing and positioning of the frets ‎as explained by (al-) Kindī, for both a “Harmonic” ‎and a Pythagorean tunings;
  • Video no. 2 (YouTube publication) entitled Fretting of the ʿūd according to Ibn a-ṭ-Ṭaḥḥān and showing the same procedure but with one set of strings described by (ibn a-ṭ-) Ṭaḥḥān.

Français

Nemo-Online a le plaisir d’annoncer la publication du dossier “Was the Early Arabian ʿūd ‘fretted’” dans lequel l’auteur poursuit sa réflexion au sujet de l’Orientalisme musicologique, et dissèque un des mythes majeurs de la musicologie orientaliste, le “frettage” duʿūd à l’aube de l’Islam.

Amine Beyhom: “Dossier: Was the Early Arabian ʿūd ‘fretted’?,” Near Eastern Musicology Online 5 9 |2020-11| p. 113–196.

Matériau additionnel:

  • Vidéo no. 1 (publication YouTube) nommée Fretting of the ʿūd according to (al-) Kindī,‎ ‎et montrant le montage des cordes ainsi que le positionnement des frettes en suivant les indications de (al-) Kindī, pour un maillage “Harmonique” ou un maillage Pythagoricien;
  • Vidéo no. 2 (publication YouTube) nommée Fretting of the ʿūd according to Ibn a-ṭ-Ṭaḥḥān et montrant la même procédure mais avec le jeu de cordes décrit par (ibn a-ṭ-) Ṭaḥḥān.

New article by Ozan Yarman (Nemo-Online Vol. 5 No. 9-1): “Search for an Optimal Tonal-‎System for an Authentic ‎Turkish Soundscape”

English

[French version below]

(Note: the link to the article is for the updated 2020/11/08 version)

NEMO-Online is delighted to announce the publication of Ozan Yarman’s new article entitled: “Search for an Optimal Tonal-System for an Authentic Turkish Soundscape: Weighing several theoretical models on ‎Makam music against pitch-histograms”.

This article has been written in the best spirit of quantitative statistical works on the maqām, it borrows from the results of a previous paper written in collaboration by the author in 2009 in order to achieve better readings about temperament – notably for the instrument qānūn – so as to reproduce with greater accuracy, a maximum amount of pitches of the Turkish scale, in relation to each maqām of Turkish music.

While redacted in the author’s characteristic style, it unfolds significant speculations about a specific quantitative musicology while insisting on the qualitative differences between musicians and maqām of a similar tradition.

Ozan Yarman: “Search for an Optimal Tonal-System for an Authentic Turkish Soundscape,” Near Eastern Musicology Online 5 9 |2020-11| p. 73–111.

  • Additional material: Zip file containing relevant MS Excel files

Français

(Note: le lien ci-dessous donne accès à l’article dans sa version mise à jour au 2020/11/08)

Nous avons le plaisir à NEMO-Online de publier ce nouvel article d’Ozan Yarman intitulé: “Search for an Optimal Tonal-System for an Authentic Turkish Soundscape: Weighing several theoretical models on ‎Makam music against pitch-histograms”.

Composé dans la veine des meilleurs études en statistique quantitative du maqām, cet article reprend les résultats d’un précédent article co-écrit par l’auteur en 2009 pour essayer de mieux cerner le meilleur tempérament – notamment pour l’instrument qānūn – à même de reproduire au plus près un maximum de degrés de l’échelle de la musique turque, rapportés à chaque maqām de cette musique.

Rédigé dans le style caractéristique de l’auteur, il déroule les spéculations vertigineuses d’une certaine musicologie quantitative, tout en insistant sur les différences qualitatives entre musiciens et maqām d’une même tradition.

Ozan Yarman: “Search for an Optimal Tonal-System for an Authentic Turkish Soundscape,” Near Eastern Musicology Online 5 9 |2020-11| p. 73–111.

  • Matériau additionel: Fichier .zip contenant des fichiers MS Excel relevant de l’étude statistique