Imagine: A Scientific Fantasy 2 ‎–‎ A video-analysis in 3D of Hurrian Song H6 performed by Lara Jokhadar

This 47th video-analysis of the VIAMAP series is an anniversary video to commemorate the beginning of video-analyses at the CERMAA. It features 3D graphical techniques as well as a short introduction explaining the scale(s) used in the analysis. It is a sequel to the 46th video-analysis –‎ the first in the 3D series –‎ the publication of which is delayed. It is also a 3D remake of the first video-analysis by the CERMAA, featuring an alternate take of Hurrian Song H6 performed by Lara Jokhadar and arranged by Richard Dumbrill, Amine Beyhom and Rosy Azar Beyhom in 2012. Further details are explained below (the scale) and in the video as such, as well as in the original post for the first video-analysis.

Explanations about the graphic scale used for the 3D video-analysis of Hurrian Song H6 3D performed by Lara Jokhadar

The last sequence preceding the end credits proposes the following text:

now imagine what it would be if we could apply 3D graphic analysis and animation to all aspects and characteristics of sound; stop, rewind, slow down the music and animation at will, zoom in, zoom out, keep selected characteristics and look up each and all details from the desired point of view and, finally, apply all these to the analysis of multi-part music, with each part shown separately, or together with other parts…

Amine Beyhom, “Imagine A scientific fantasy”

3D video-analysis of Hurrian Song H6 performed by Lara Jokhadar: take 4 recorded on the 21st of October 2012 by Amine Beyhom


A CERMAA production

Video Analysis (https://youtu.be/L2c5-IHOmTc)


Release of HURRIAN SONG 6 (H6) by CERMAA (DUMBRILL/BEYHOM/AZAR-BEYHOM) performed by Lara Jokhadar

Release of the first animated video produced at CERMAA.
HURRIAN SONG 6 (H6) was arranged by Richard Dumbrill, Amine Beyhom and Rosy Azar Beyhom in 2012, and performed by Lara Jokhadar.
The video (below) shows the Pitch analysis of Lara’s voice with Praat, in two sections (upper and lower). The upper section offers a general view, while the lower section shows the detailed analysis, with horizontal red dashed lines showing the tonic and the octave, blue dashed line for the fifth and green for the fourth.
Special thanks to Wim van der Meer and to Kabalan Samaha for their help in producing this first video.

FOREDOFICO, CERMAA and ICONEA with the “Friends of the National Museum” foundation to produce a documentary film on the Making of Hurrian Song H.6.

Lyre-reconstructed-by-R.-Dumbrill
A lyre reconstructed by Richard Dumbrill for the Hurrian song H.6. project in Lebanon

In October 2012, ICONEA Director Richard Dumbrill visited Lebanon, initially to attend a conference in Beirut on Rituals in the Ancient Levant. The conference was cancelled following a bombing in the metropolis. Dumbrill seeked help from CERMAA/FOREDOFICO to produce a documentary film on the subject he had intended to give at the National Museum. The documentary, funded by the Friends of the National Museum and CERMAA/FOREDOFICO is about the research work Dumbrill has undertaken for the past 25 years on the translation of the oldest known musical text, written in the Hurrian language, dating from about 1400 years BC, and found at Ugarit in North East Syria in the 1950s. The documentary was shot by Paul Mattar, Founding member of FOREDOFICO, in a renowned archaeological site, and at the headquarters of CERMAA, in the suburbs of Beirut.

Rosy Azar Beyhom and Amine Beyhom, CERMAA founding members contributed to the Orientalisation of Dumbrill’s original rendition of the Hurrian material. The song was recorded at the CALA recording studios, a subdivision of FOREDOFICO specialised in archival recordings. Saad SAAB, President of FOREDOFICO made improvisastions on the Ꜥūd on the theme of the original music. The singing of the melody, and the acting on site was entrusted to a young and promising Lebanese singer, Lara Jokhadar Al-Aro. There, Lara played the role of a young woman afflicted with the curse of being childless, and sang her sorrow to the moon goddess NIKKAL so that she may bear child.

 

Lara Jokhadar al-Aro

 

 

The original score for the Hurrian H.6. song has been published in Richard Dumbrill’s article for NEMO N°1 :

  • Dumbrill, Richard : “Modus Vivendi,” Near Eastern Musicology Online 1 1 |2012-11| p. 89–116.

Theme for/Thème de NEMO-Online N° 2

English

NEMO-Online No 2 : Contribution theme.

Research groups CERMAA, ICONEA and PLM have the pleasure of calling for papers for the second issue of NEMO on the theme of ‘Modality in all its forms’. All papers welcome including Occidental forms of modality and should respect editorial terms and conditions.
Papers to be sent to either Richard Dumbrill or Amine Beyhom.

Français

Thème de NEMO-Online N° 2

Les centres et groupes de recherches CERMAA, ICONEA et PLM ont le plaisir d’annoncer que le deuxième numéro de NEMO sera consacré à “La modalité dans tous ses états” et acceptera les articles concernant tous les aspects de la modalité, y compris dans toutes ses déclinaisons occidentales, sous réserves de conformité aux normes de la revue et de suivi du  protocole d’édition.

Les articles doivent être envoyés à Richard Dumbrill et/ou Amine Beyhom.

The first issue of NEMO-Online Vol. 1 No. 1 is now available / Sortie de NEMO-Online Vol. 1 No. 1

English

NEMO-Online Vol. 1 No. 1 is available

CERMAA is delighted to inform you that the first issue, of Vol. 1 No. 1 (November 2012) is now available. It includes contributions of François Picard (France), Erik Marchand (France), Jacob Olley (Great Britain), Rosy Azar Beyhom (Lebanon), Markos Skoulios (Greece), Richard Dumbrill (Great Britain) et Amine Beyhom (Lebanon ; France).
The editorial and the summary page are available online. The hard copy (Price = 40 €) is distributed by Geuthner, France and downloadable from December 2013.

Français

Sortie de NEMO-Online Vol. 1 No. 1

Le CERMAA a l’immense plaisir d’annoncer la sortie du Volume 1, Numéro 1 de NEMO (Novembre 2012) avec des contributions de François Picard (France), Erik Marchand (France), Jacob Olley (Grande-Bretagne), Rosy Azar Beyhom (Liban), Markos Skoulios (Grèce), Richard Dumbrill (Grande-Bretagne) et Amine Beyhom (Liban ; France).

L’Éditorial et le Sommaire sont accessibles en ligne. La version imprimée (Prix = 40 €) est distribuée par Geuthner ; la version numérique (payante) sera mise en ligne à partir de décembre 2013.

(shortlink=http://foredofico.org/CERMAA/?p=394)

 

 

Research on Aesthetics in music with Jean During (CNRS – France)

CERMAA welcomed recently Jean During, a senior researcher at CNRS – France. Jean During led three interviews on June 03 2012 with renowned Lebanese music teachers and musicians Imane Homsy (qanun), Joseph Loueizeh (teacher of singing and numerous other activities – member of CERMAA and founding member of FOREDOFICO) and Saad Saab (`ud teacher and performer – President of FOREDOFICO and member of CERMAA). He was accompanied by Amine Beyhom for CERMAA.

The subject of the interviews was “Music Aesthetics”.

Jean During is also a member of the Academic Board of NEMO-Online, the Musicological Journal co-founded by CERMAA, ICONEA (British Museum and University of London) and PLM (Université de la Sorbonne – France).

Transliteration from Arabic language to European languages

We use at CERMAA the following transliteration for Arabic language, used also for the book of Amine Beyhom on Arabian music :

 

Transliteration of Arabic language into Latin languages

C o n s o n a n t s

Isolated

Initial

Medial

Final

Latin

ا

ا

Ā – ā

ء

ٔ

ٕ

ʾ

ب

بـ

ـبـ

ـب

b

ت

تـ

ـتـ

ـت

t

ث

ثـ

ـثـ

ـث

th

ج

جـ

ـجـ

ـج

j

ح

حـ

ـحـ

ـح

Ḥ – ḥ

خ

خـ

ـخـ

ـخ

Kh

د

ـد

d

ذ

ـذ

dh

ر

ـر

r

ز

ـز

z

س

سـ

ـسـ

ـس

s

ش

شـ

ـشـ

ـش

sh

ص

صـ

ـصـ

ـص

Ṣ – ṣ

ض

ضـ

ـضـ

ـض

Ḍ – ḍ

ط

طـ

ـطـ

ـط

Ṭ – ṭ

ظ

ظـ

ـظـ

ـظ

Ẓ – ẓ

ع

عـ

ـعـ

ـع

͑

غ

غـ

ـغـ

ـغ

gh

ف

فـ

ـفـ

ـف

f

ق

قـ

ـقـ

ـق

q

ك

كـ

ـكـ

ـك

k

ل

لـ

ـلـ

ـل

l

م

مـ

ـمـ

ـم

m

ن

نـ

ـنـ

ـن

n

ه

هـ

ـهـ

ـه

h

ة[1]

ـة

a, at

و

و

w

ي

يـ

ـيـ

ـي

y

ى

ـى

ā

لا

ـلا

ال

al-

 

 

Vowels and diphthongs

Isolated

Medial

Final

Latin

آ[2]

آ

ā

َ

a

ُ

u

ِ

i

َا

َا

ā

ٰ

ā

َى

ā

َىٰ

ā

ُو

ُو

ū

ِي

ِـيـ

ī

ًا

ً

an

ًى

an

ٌ

un

ٍ

in

َوْ

َوْ

aw

َيْ

َـيـْ

ay

ُو

uw – ū

ِيّ

iyy – ī [3]

Other signs and additional characters

Isolated

Latin

ْ

Sukūn

ّ

Shadda

Double

ٱ

Hamzat al-waṣl

ʾ

Initial

Medial

Final

پ

پـ

ـپـ

ـپ

p

چ

چـ

ـچـ

ـچ

č

ژ

ژ

ž

ڤ

ڤـ

ـڤـ

ـڤ

v

ڥ

ڥـ

ـڥـ

ـڥ

v

ڧ

فـ

ـفـ

ـف

q

ڢ

ڢـ

ـڢـ

ـڢ

f

گ

كـ

ـكـ

ـﮏ

g

ڭ

ـﯖـ

ـﯔ

g

ۋ

ۋ

v

P u n c t a t i o n

،

,

؛

;

؟

?

N u m b e r s

٠

0

١

1

٢

2

٣

3

٤

4

٥

5

٦

6

٧

7

٨

8

٩

9

Notes

  • Hyphen is used to separate grammatically differing elements within single units of Arabic script, notably the noun from the article and/or from the particles wa-, fa-, ta-, bi-, li-, ka-, la-, sa- and a-.
  • The definite article is assimilated with the following “sun” letter (ت، ث، د، ذ، ر، ز، س، ش، ص، ض، ط، ظ، ل، ن).
  • Shadda(t) or tashdīd is romanized by doubling the consonant.

[1] Tāʾ marbūṭa

[2] Madda

[3] ī for last letter of nouns such as `Alī, al-Urmawī, etc., and a double y for the rest (for example : al-kitāb al-`arabiyy).