Philologie de la Créolisation des Traditions Musicales du ...

31
Received: 2 mars 2017 Revision received: 31 mai 2017 Accepted: 12 juillet 2017 OnlineFirst: 30 novembre 2017 Copyright © 2017 Istanbul University Department of Sociology tjs.istanbul.edu.tr/en DOI 10.26650/TJS.2017.2.0004 December 2017 37(2) 283±313 Original Article SOSYOLOJİ DERGİ Sİ TURKISH JOURNAL OF SOCIOLOGY $UWLFOH GHVWLQp DX QXPpUR VSpFLDO GH OD 5HYXH WXUTXH GH VRFLRORJLH © 0XVLTXH HW VRFLpWp GDQV OHV FXOWXUHV FODVVLTXHV ª HW FRQVWUXLW j SDUWLU GH O¶RXYUDJH Éléments sémiotique modale: (VVDL G¶XQH JUDPPDLUH PXVLFDOH SRXU OHV WUDGLWLRQV PRQRGLTXHV GH O¶DXWHXU $ERX 0UDG 1LGDD $ERX 0UDG 3URI PXVLFRORJLH GR\HQ GH OD )DFXOWp GH 0XVLTXH HW 0XVLFRORJLH 8QLYHUVLWp $QWRQLQH +DGDW %DDEGD /LEDQ (PDLO QLGDDDERXPUDG#XDHGXOE To cite this article: $ERX 0UDG 1 3KLORORJLH GH OD FUpROLVDWLRQ GHV WUDGLWLRQV PXVLFDOHV GX 0DãULT Turkish Journal of Sociology, 37 KWWSG[GRLRUJ7-6 Résumé Au gré de l’histoire mouvementée du territoire géoculturel du Mašriq et symbolique de « l’Orient musi- cal », s’est mise en place une importante palette de traditions musicales vivantes. Particulièrement marquée du double point de vue rythmique et stylistique, la diversité des pratiques musicales de ce territoire est la conséquence directe de leurs différences contextuelles. Il s’agit d’abord du sceau prosodique que la langue des textes chantés imprime sur le rythme des chants et qui varie sensiblement d’un contexte linguistique (syriaque, grec, persan, copte, arabe, turc, arménien etc.) ou dialectal à l’autre. Il s’agit surtout de l’empreinte métrique par laquelle les rituels religieux et profanes marquent ce rythme. Cette empreinte est inhérente à l’arbitrage esthétique que rendent ces rituels entre verbe et geste et qui se superpose à l’antique dialectique du ȜȩȖȠȢ (MPHPT, parole/verbe) et du ȝȑȜȠȢ (NnMPT, mélodie) et à l’opposition du vocal à l’instrumental. En prenant appui sur l’analyse symbolique des rituels dans lesquels les pratiques musicales sont engagées, la modélisation triadique esthétique et stylistique musicale, par laquelle débute cet article tou en s’inscrivant dans la théorie sémiotique modale, est avant tout d’inspiration anthropologique religieuse et d’essence sé- miotique/TnNJPMPHJRVF ternaire. Aussi cet article étudie-t-il dans cette perspective quatre importants actes syncrétistes fondateurs de grandes traditions musicales régionales : l’instauration (au iv e s.) de l’hymnodie chrétienne, la création (au vii e s.) de la musique de cour arabe médiévale, les tiraillements (observée au xix e s.) entre les systèmes mélodiques traditionnels de l’Orient, en conséquence de contacts avec l’Occident, et l’élaboration (au xix e s.) de la nouvelle mouture de la tradition musicale lettrée (artistique ou classique) arabe du Mašriq, par métissage entre des dialectes musicaux régionaux. Ces avènements sont envisagés, du double point de vue sémiotique et philologique, en tant qu’évolutions historiques de dialectes d’une seule FU NpNF MBOHVF NVTJDBMF SnHJPOBMF USBOTNPEBMF FU USBOTUSBEJUJPOOFMMF DFT EJBMFDUFT nUBOU BTTVKFUUJT h EFT processus de DSnPMJTBUJPO NVTJDBMF. Mots-clés 5SBEJUJPOT NVTJDBMFT EF M´0SJFOU .nUJTTBHF NVTJDBM 4nNJPUJRVF NPEBMF 4DIoNFT FTUInUJRVFT NVTJDBVY USBEJUJPOOFMT /BIa musicale Nidaa Abou Mrad 1 Philologie de la Créolisation des Traditions Musicales du Mašriq *

Transcript of Philologie de la Créolisation des Traditions Musicales du ...

Page 1: Philologie de la Créolisation des Traditions Musicales du ...

Received: 2 mars 2017Revision received: 31 mai 2017Accepted: 12 juillet 2017OnlineFirst: 30 novembre 2017

Copyright © 2017 � Istanbul University Department of Sociologytjs.istanbul.edu.tr/en

DOI 10.26650/TJS.2017.2.0004 � December 2017 � 37(2) � 283±313

Original Article

SOSYOLOJİ DERGİSİ TURKISH JOURNAL OF SOCIOLOGY

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Résumé

Au gré de l’histoire mouvementée du territoire géoculturel du Mašriq et symbolique de « l’Orient musi-

cal », s’est mise en place une importante palette de traditions musicales vivantes. Particulièrement marquée

du double point de vue rythmique et stylistique, la diversité des pratiques musicales de ce territoire est la

conséquence directe de leurs différences contextuelles. Il s’agit d’abord du sceau prosodique que la langue

des textes chantés imprime sur le rythme des chants et qui varie sensiblement d’un contexte linguistique

(syriaque, grec, persan, copte, arabe, turc, arménien etc.) ou dialectal à l’autre. Il s’agit surtout de l’empreinte

métrique par laquelle les rituels religieux et profanes marquent ce rythme. Cette empreinte est inhérente à

l’arbitrage esthétique que rendent ces rituels entre verbe et geste et qui se superpose à l’antique dialectique

du ȜȩȖȠȢ (MPHPT, parole/verbe) et du ȝȑȜȠȢ (NnMPT, mélodie) et à l’opposition du vocal à l’instrumental. En

prenant appui sur l’analyse symbolique des rituels dans lesquels les pratiques musicales sont engagées, la

modélisation triadique esthétique et stylistique musicale, par laquelle débute cet article tou en s’inscrivant

dans la théorie sémiotique modale, est avant tout d’inspiration anthropologique religieuse et d’essence sé-

miotique/TnNJPMPHJRVF ternaire. Aussi cet article étudie-t-il dans cette perspective quatre importants actes

syncrétistes fondateurs de grandes traditions musicales régionales : l’instauration (au ive s.) de l’hymnodie

chrétienne, la création (au viie s.) de la musique de cour arabe médiévale, les tiraillements (observée au xixe

s.) entre les systèmes mélodiques traditionnels de l’Orient, en conséquence de contacts avec l’Occident, et

l’élaboration (au xixe s.) de la nouvelle mouture de la tradition musicale lettrée (artistique ou classique)

arabe du Mašriq, par métissage entre des dialectes musicaux régionaux. Ces avènements sont envisagés, du

double point de vue sémiotique et philologique, en tant qu’évolutions historiques de dialectes d’une seule

FU�NpNF�MBOHVF�NVTJDBMF�SnHJPOBMF �USBOTNPEBMF�FU�USBOTUSBEJUJPOOFMMF �DFT�EJBMFDUFT�nUBOU�BTTVKFUUJT�h�EFT�

processus de DSnPMJTBUJPO�NVTJDBMF.

Mots-clés

5SBEJUJPOT�NVTJDBMFT�EF�M´0SJFOU���.nUJTTBHF�NVTJDBM���4nNJPUJRVF�NPEBMF���4DIoNFT�FTUInUJRVFT�

NVTJDBVY�USBEJUJPOOFMT���/BIঌa musicale

Nidaa Abou Mrad1

Philologie de la Créolisation des Traditions

Musicales du Mašriq*

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SOSYOLOJİ DERGİSİ TURKISH JOURNAL OF SOCIOLOGY

Abstract

As expected from the colorful history of Mashriq’s cultural geography and the symbolic system of the

“musical East,” there is today in that region a great variety of musical traditions. The richness of this region’s

music, regarding rhythm and style especially, is the natural result of these musical traditions’ contextual

differences. The fundamental distinction is the prosodic stamp that the language of the lyrics left on the

SIZUIN� PG� UIF� DIBOU � DPOUFYUVBMMZ� EFQFOEJOH� PO� UIF� MBOHVBHF� 4ZSJBO � (SFFL � 1FSTJBO � $PQUJD � "SBCJD �

Turkish, Armenian, etc.) or dialect. It is mainly caused by the metrical influence (metrical stamp) of religious

and non-religious rituals on the rhythm. This influence, which also appears in the logos (utterance/word)

– melos (melody) dialectic and the vocal – instrumental music opposition of Ancient Greece, is inherent

to the rituals’ aesthetic preference between utterance and gesture. The threefold stylistic and aesthetical

music modeling that has been chosen at the outset of the study and thoroughly explored within modal

semiotics is based on the symbolic analysis of rituals involving music making. Based on a threefold semiotic

approach, it is mainly inspired by the anthropology of religion. Thus have been studied the four principal,

constituent and syncretist stages of the great musical traditions of the region: The foundation of the Christian

hymnography (4th century); the beginnings of Medieval Arabic court music (7th century); inconsistencies

in the traditional Eastern melodic systems (mainly 19th century) as a consequence of the contact with the

West, and finally, the embodiment of a new form of theory-based Arabic music tradition (artistic or classic)

in Mashriq (19th century). All these stages have been explored, from the double perspective of semiotics

and philology, as the evolution of the dialects of a single regional music idiom (trans-modal and trans-

traditional) that has undergone musical creolization.

Keywords

.VTJDBM�5SBEJUJPOT�PG�.BTISJR���.VTJDBM�$SFPMJ[BUJPO���.PEBM�4FNJPUJDT���"FTUIFUJD�1BUUFSOT�JO�5SBEJUJPOBM�.VTJD��

Musical Dimension of Nahঌa

Philology of the Creolization of Mashriq’s

Musical Traditions

Nidaa Abou Mrad1

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Başvuru: 2 Mart 2017 Revizyon: 31 Mayıs 2017Kabul: 12 Temmuz 2017 OnlineFirst: 30 Kasım 2017

Copyright © 2017 � İstanbul Üniversitesi Edebiyat Fakültesi Sosyoloji Bölümütjs.istanbul.edu.tr

DOI 10.26650/TJS.2017.2.0004 � Aralık 2017 � 37(2) � 283–313

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