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Poking around the Mediterranean, this podcast gives voice to researchers, scholars, performers, and artists who are digging through its rich intangible heritage with music and poetry always in mind. Paolo...
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Poking around the Mediterranean, this podcast gives voice to researchers, scholars, performers, and artists who are digging through its rich intangible heritage with music and poetry always in mind.
Paolo Scarnecchia, author of the podcast, in each episode meets experts, performers and artists who will present the musical traditions, passed down from generation to generation, and influenced by migrations, history and people all along the centuries in the Mediterranean region. In this journey, we will also explore how this heritage continues to evolve nowadays.
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
About the Author
Paolo Scarnecchia is responsible for the UNIMED Music sector.
He has taught History of Music and History of non-European Music in many Italian conservatories, and has been Adjunct Professor at the University of Naples "L'Orientale", the Suor Orsola Benincasa University Institute of Naples, and Sapienza University of Rome.
He counts an active participation in international conferences, in Italy and abroad, on the musical culture of the Mediterranean region and in particular of the Near East. He has directed festivals and international music festivals and collaborated with several magazines.
He never stopped writing for Il Giornale della Musica and producing radio programs, dealing nowadays mainly with Early Music.
Among his publications it is worth to mention Popular music and cultured music - Enciclopedia del Mediterraneo, Jaca Book 2000 (also published in Spanish, French and Arabic).
About UNIMED
UNIMED - Mediterranean Universities Union - is a network of Higher Education and Research Institutions, founded in 1991, and active in promoting academic cooperation in the Euro-Mediterranean region and in Sub-Saharan Africa, in the Middle East and in Western Balkans. It counts more than 150 associated Universities coming from more than 20 countries.
Copyright
CC BY-NC-ND 4.0 DEED
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Paolo Scarnecchia, author of the podcast, in each episode meets experts, performers and artists who will present the musical traditions, passed down from generation to generation, and influenced by migrations, history and people all along the centuries in the Mediterranean region. In this journey, we will also explore how this heritage continues to evolve nowadays.
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
About the Author
Paolo Scarnecchia is responsible for the UNIMED Music sector.
He has taught History of Music and History of non-European Music in many Italian conservatories, and has been Adjunct Professor at the University of Naples "L'Orientale", the Suor Orsola Benincasa University Institute of Naples, and Sapienza University of Rome.
He counts an active participation in international conferences, in Italy and abroad, on the musical culture of the Mediterranean region and in particular of the Near East. He has directed festivals and international music festivals and collaborated with several magazines.
He never stopped writing for Il Giornale della Musica and producing radio programs, dealing nowadays mainly with Early Music.
Among his publications it is worth to mention Popular music and cultured music - Enciclopedia del Mediterraneo, Jaca Book 2000 (also published in Spanish, French and Arabic).
About UNIMED
UNIMED - Mediterranean Universities Union - is a network of Higher Education and Research Institutions, founded in 1991, and active in promoting academic cooperation in the Euro-Mediterranean region and in Sub-Saharan Africa, in the Middle East and in Western Balkans. It counts more than 150 associated Universities coming from more than 20 countries.
Copyright
CC BY-NC-ND 4.0 DEED
19 NOV 2024 · The multipart singing of the rural Southern region of Portugal, called cante alentejano, is proudly performed by amateur choral groups that intone two short simple poems, first the cantiga and then the moda, standing side by side and slightly undulating.
Their chanting is a means to reinvigorate the sense of belonging to their land and a way to bound social ties among communities of Alentejo.
Salwa El-Shawan Castelo-Branco has a deep ethnomusicological knowledge of the different musical traditions of Portugal, and contributed with the anthropologist Paulo Lima to create the conditions of the inclusion in 2014 of this form of singing in the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.
Here she explains what cante alentejano is and what it represents in the frame of cultural and social life of Portugal.
About Salwa El-Shawan Castelo-Branco
Salwa El-Shawan Castelo-Branco is Professor Emerita of the Faculty of Social Sciences and Humanities, NOVA University of Lisbon (FCSH-UNL) and president Emerita of the Instituto de Etnomusicologia-Centro de Estudos em Música e Dança (INET-md), a research unit that she founded in 1995 and directed up to 2020.
She was elected President of the International Council for Traditional Music (2013 - 2021). She earned a Ph.D. in Ethnomusicology in 1980 at Columbia University. Her academic career was launched at New York University where she was a tenure-track Assistant Professor from 1979 to 1981, founded and directed an MA program in urban ethnomusicology.
She was Associate Professor at the newly founded Musicology Department at NOVA-FCSH, completed her habilitation in 1986 and won a full professorship in 1988, the first in musicology in Portugal. She chaired the Musicology Department during its foundational and consolidation phases (1983-1988; 1995-1997).
She was visiting professor at Columbia University, Princeton University; Tinker Professor at Chicago University, Overseas Visiting Scholar at St. John's College, Cambridge University and Gulbenkian Visiting Professor at the University of California, Berkeley. She carried out field research in Portugal, Egypt and Oman resulting in publications on: cultural politics, musical nationalism, music heritage, music media, music and conflict, and institutional and disciplinary histories.
More information and the list of publications are available http://www.inetmd.pt/index.php/en/people/doutoradosen/299-salwa-el-shawan-castelo-branco-en.
Episode's musical sources list
O Alentejo em Lisboa
Modas e Cantigas do Alentejo. Grupo Coral Alentejano. Amadora AURPIF. Ideal voice CD s.d.
Bairro Alentejano
Grupo Coral 1° de Maio do Bairro Alentejano: O Ninho. Sociedede Recreativa e Cultural do Povo, Bairro Alentejano, CD 2007
Hino do Mineiro
Aljustrel Tradiçao Musical. Grupo Coral do Sindicato Mineiro de Aljustrel, CNM, CD 2002 Os Ganhões de Castro Verde
Alentejo, Alentejo
Grupo Coral e Etnográfico Os Camponeses de Pias
https://www.youtube.com/watch?v=rfWykIA1MQ0 http://www.youtube.com/channel/UCpB20kmRi4zgMxyyJL3Qrmg
PARIS, 27-NOV-2014 (na Sede da UNESCO). Declaração do júri da UNESCO, integrando o CANTE ALENTEJANO na lista representativa do PATRIMÓNIO CULTURAL IMATERIAL DA HUMANIDADE. (Registo vídeo da MODA - Associação do Cante Alentejano, edição de José Colaço) https://youtu.be/r69KHaXCLGs?feature=shared
Cefeira Linda Cefeira
Terra - Os Ganhões de Castro Verde, Antologia: 1972 -2006. Polifonias Alentejanas
Meus Lirio roxo
Lirio Roxo: cançao Alentejana. Rancho Coral de Serpa. The Gramophone Company EQ 354 OPC 14 1949?
Ao romper da bela aurora
Grupo Coral Os Cefeiros de Cuba: Alma do Poco CD 2005
Fui colher Marcela
Modas dos mastros - Grupo Coral e Etnografico As Camponesas de Castro Verde, Cortiçol – Cooperativa de Informaçao e Cultura, CRL, CD, 1997
Lá vai Serpa, lá vai Moura
Cantes de Aldeia Nova - Rancho dos Cantadores de Aldeia Nova de São Bento CD 2001
Lá vai Serpa, lá vai Moura
Cançao do Alentenjo. Edmundo Bettencourt. Columbia 8121 1928
Cefeira
Celina da Piedade. Gravaçao inedita cedida por Celina da Piedade 2015
Venho da ilha dos vidros
Viola Campaniça: Ilha dos vidros. Grupo de Violas Campaniças. Associaçao Cante Alentejano: Os Cardadores 2006
Toda a bela noite que eu ando
Castro Verde tem uma minha: Grupo e Coral Etnografico “Os Carapinhas” de Castro Verde. Cortiçol – Cooperativa de Informação e Cultura. CRL. CD 1997.
Que inveja tens tu das rosas
Antonio Zambujo. Por meu cante. Ocarina OCA 008. 2004.
All the music works short examples here above listed are included in the collection CANTES. Cante Alentejano Património Cultural da Humanidade (4 Books and CDs), A Bela e o Monstro. Edições / Público Comunicação Social SA, 2018. Coordination, texts and musical selection by Salwa El-Shawan Castelo-Branco and Paulo Lima
Disclaimer
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
1 OCT 2024 · When a musical culture is endangered and can nearly die out, it may happen that a single person can help to draw attention on it and stimulate the creation of a virtuous circle to induce a revival, even in a society which is so unstable and fragile as the Yemenite one.
This is the case of Jean Lambert, ethnomusicologist and musician, who fell in love with the country from the first time he visited it and became a kind of unofficial ambassador of the traditional music of Yemen from its capital city Sana’a.
During his field research he discovered a lute of ancient origin, the qanbus, that was on the verge of vanishing, as well as the original way of playing a copper dish called sahn mimiye. He studied the social importance of music in the Yemeni culture and collaborated to the process for including the Song of Sanaa in the Representative List of the Intangible Cultural Heritage of Humanity.
About Jean Lambert
Jean Lambert is an anthropologist and an ethnomusicologist specialized on Yemen and the Arabian Peninsula, as well as the history of Arab music. He also studies Arabic oral literature (poetry, tales, legends) in Yemen and Lebanon.
He is currently Assistant professor in the Musée de l'Homme (National Museum of Natural History, Paris) and an associate researcher in the CREM-LESC (Université Paris Nanterre). He supervised many PhD candidates.
From 2003 to 2008, he was the Director of the French Center for Archeology and Social Sciences (CEFAS) in Sanaa. Between 2009 and 2014, he was the Director of the Centre for Research in
EthnoMusicology (CREM-LESC), CNRS, Université de Paris Nanterre.
More information about his work is available https://www.jean-lambert.com/home.
Episode's musical sources list
(most of them coming from J. Lambert’s book: La médecine de l'âme. Le chant de Sanaa dans la société yéménite, Nanterre, Société d'ethnologie (1997, 1 CD included).
01) Abdallah al-Jabri et Husayn Sa'sa, mizmar
02) Yahya al-Nunu, Chant de Sanaa, oriental lute, “Zamân al-sibâ” (The time of youth)
03) Abdallah al-Hammami, nashîd, “Yigarreb Allah“ (May God bring closer our encounter)
04) Hasan al-Ajami, yemenite lute, “Bada ka-l-badr“ (He appeared like the full moon)
05) Hasan al-Ajami, yemenite lute, instrumental introduction, fartash turki
06) Mohammed Hamud al-Harithi, oriental lute, mutawwal : “Rahmân yâ Rahmân” (O Misericordious)
07) Ahmed al Tashshi, yemenite lute, instrumental introduction, fertash
08) Mohammed al-Khamisi, ”Yâ hayy yâ gayyûm” (O Living God, o Erected), copper plate, sahn
09) Ahmed Telha, declamation of poetry
10) Abdallah al-Hammami, nashîd, “Iqbis mata shiit” (Pick up as you want the flame of love from my liver)
11) The Song of Sanaa, Unesco
12) Abdallah a-Hammami, psalmody, Tasbih of pilgrimage
13) Nidaa Abou Mrad, Tahmîlat Aqsâq Bayyâtî - taqâsîm
14) Shaykh Ali Abu Bakr Ba-Sharahil, yemenite lute, Song of Sanaa,“Yigarreb Allah” (May God bring closer our encounter)
15) Mohammed bin Shamikh, oriental lute, tarhîb : “Bushrâk hâdha-I yawmu Îd” (Welcome song: Today is a feast day) (from cd Yemen: Songs from Hadramawt, Unesco Collection 1998
16) Abdallah al-Hammami, wedding procession song, ziffa
17) Hasan al-Ajami, Chant de Sanaa, “Ya mughir al-gazala” (O you who make the deer jalous), copper plate, sahn
Disclaimer
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
25 JUL 2024 · When we think about what has been called “classical music” of Maghreb, oral by tradition and linked to a past medieval artistic splendour, we immediately think of Morocco and Algeria, then of Tunisia, but much less of Libya.
In Libya sufi brotherhoods played an important role in preservation and transmission of the nawabat (suites) common heritage for all the North Africa of Andalusian-Maghrebi art music, and the so called ma’lūf az-zāwiya, is the core of this tradition which is rooted in the Muslim Spain. However when it is performed by professional or semi professional musicians, it is generally indicated as ma’lūf alidhā‛.
The Arab Andalusian musical tradition of Libya is close to the Tunisian one and shares the same name of ma’lūf.
Guiding us in this tradition is Philip Ciantar, Associate Professor at the Department of Music Studies of the University of Malta.
During his field research in Tripoli, Philip Ciantar met with Hassan Araibi, the musician who was one of the most important connoisseurs of the repertoire of sung poetry organised in different modal suites. From this experience the maltese scholar started to investigate further this living tradition, meeting also with the members of the Araibi Ensemble that was part of the Libyan Radio. Prof. Ciantar listened and learned from their point of view the features, the key concepts and the poetic of this enchanting musical tradition.
About Philip Ciantar
Philip Ciantar is an Associate Professor at the Department of Music Studies within the School of Performing Arts, University of Malta. He teaches ethnomusicology and related subjects. His research interests lie in the areas of Mediterranean music studies; Andalusian music in North Africa; Maltese popular music; music and colonialism; the transmission of musical knowledge; and world music analysis. His publications include articles in a variety of journals and edited volumes, as well as entries in leading music encyclopedias. Among his publications are two single-authored monographs: The Ma’lūf in Contemporary Libya: An Arab Andalusian Musical Tradition (Ashgate 2012; Routledge 2016) and Studies in Maltese Popular Music (Routledge 2021).
Episode's musical sources list
Libyan Nawba: Jamru al Hawā
Hassan Araibi's Orchestra
Libyan Nawba: Jamru al Hawā
Hassan Araibi's Orchestra
Muwashshah: Salfiy ad-Dhalām
Hassan Araibi's Orchestra
Libyan Nawba: Jamru al Hawā
Hassan Araibi's Orchestra
Ma’lūf Az-Zawya during a Mawlid Parade
Libyan Nawba: Nāh al Hamām
Hassan Araibi's Orchestra
Libyan Nawba: Nāh al Hamām with a Ottoman-like military melody
Libyan Nawba: Shawqa Danīy
Hassan Araibi's Orchestra
A song from Libyan Nawba Nāh al Hamām compared to a Nawba Song from the Tunisian Ma’lūf Repertoire
Nawba Nāh al Hamām in az-Zawya style
Libyan Nawba: Shawqa Danīy
Hassan Araibi's Orchestra
Disclaimer
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
24 JUN 2024 · Who are the Moroccan professional female singer-dancers (shikhat) from the rural Atlantic plateau?
And what the Moroccan migrants in Italy, in particular the community of workers in Umbria, listen to?
These and many other questions arise from the fieldwork experiences of Alessandra Ciucci in Morocco and Central Italy on the waves of the harsh sound of the ‘aita and the ‘abidat r-rma musical traditions. To explain the role of the female entertainers and the social environment where they came from, and to investigate what the community of Moroccan workers of Umbria like to listen to during their leisure time, she uses differents tools crossing ethnomusicology, popular music, gender and post-colonial studies.
About Alessandra Ciucci
Alessandra Ciucci is Associate Professor of Music (Ethnomusicology) at Columbia University. She received a PhD in music (ethnomusicology) from the City University of New York at the Graduate Center. Her research interests include: the music of Morocco, the Maghreb, the Mediterranean, gender and sexuality, sung poetry, popular music of the Arab world, and music and migration. Her first book, The Voice of the Rural (University of Chicago Press, 2022), explores the significance and the endurance of a specific notion of the rural (l-'arubiya), in music, poetry and the voice among migrant Moroccan men in the Umbria region of Italy. This Monograph interrogates how the idea of l-'arubiya, which is entangled with a sense of place, longing and belonging, becomes particularly meaningful in Italy where it articulates a personhood rooted in a masculinity that is denied to Moroccan men though their labor and migratory status.
https://www.uni-med.net/wp-content/uploads/2024/06/Alessandra_Ciucci_.pdf
Episode's musical sources list
https://archive.org/details/FatnaBentLhoucine/F.b.+L'Houcine+-+Kh.+Laabdia+-+Donna+-+Si+Jelloul+-+HADIK+MUIMTI.mp3
Fatna bent l-Houcine
https://archive.org/details/khadijaAlBidawiya/khadijaAlBidawiya-intro.Mp3
Khadija Al-Bidawiya
https://archive.org/details/FatnaBentLhoucine/F.bt.Lhoucine-O.+b.+Aguida+-+KHARBOUCHA+6+vers.cd.mp3
Fatna bent l-Houcine & Ouled Ben Aguida
https://archive.org/details/BouchaibBidaoui/B.+Elbidaoui+-+Kibbou+-++B.+Znaiga-FINA+HOUMA.mp3
B. Elbidaoui - Kibbou - B. Znaiga
https://archive.org/details/FatnaBentLhoucine/F.bt.Lhoucine-O.+b.+Aguida+-+KHARBOUCHA+6+vers.cd.mp3
Fatna bent l-Houcine & Ouled Ben Aguida
Aita
Ouled Ben Aguida with Hafida Hasnaoui e Aicha Nouni. "l-Aloua". Wedding Celebration July 2003 (Alessandra Ciucci field recording at a wedding party, men and women were present)
https://archive.org/details/FatnaBentLhoucine/F.bt.Lhoucine-O.+b.+Aguida+-+KHARBOUCHA+6+vers.cd.mp3
Fatna bent l-Houcine & Ouled Ben Aguida
https://archive.org/details/khadijaAlBidawiya/khadijaAlBidawiya-elAid.Mp3
Khadija Al-Bidawiya
Abidat r-rma
Shikh l-Bachir. "l-Ghaba"
https://archive.org/details/khadijaAlBidawiya/khadijaAlBidawiya-elAid.Mp3
Khadija Al-Bidawiya
Abidat r-rma
Shikh Sharqi. Wedding Celebration. July 2017 (Alessandra Ciucci field recording at a wedding party for men only. Audio of a video of Shikh Sharqi where he plays scissors and musicians around him imitate the sound of hunters and dogs chasing prey).
Disclaimer
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
23 MAY 2024 · This episode will let us travel in the Balkan Area and beyond, following minorities and migration flows.
The definition of the so-called "applied ethnomusicology" intersects with various activities that include study and research in a dimension where theory and practice are not separated but converge in the realization of different kind of projects.
Doing field research and work in contexts of tension and conflict is one of the main challenges of recent history for those who work in an intercultural perspective. The globalised era, such as the one we are living in, continuously questions the certainties of the discipline studying “local” musical cultures, which often belong to minority communities.
For Svanibor Pettan, interviewed for this episode, it was pivotal being born in Croatia and having lived in the Balkan area, a region affected by war and conflict. His attention towards minorities and, more recently, towards migrants and refugees is an example demonstrating the social function of ethnomusicology engaged in dissemination and cultural mediation.
About Svanibor Pettan
Svanibor Pettan is Professor and Chair in ethnomusicology at the Faculty of Arts, University of Ljubljana, Slovenia. His academic degrees are from the Universities of Zagreb, Croatia (B.A.), Ljubljana, Slovenia (M.A.), and Maryland, USA (Ph.D.), while his past and present fieldwork sites include central and southeastern Europe, Australia, Egypt, Norway, Sri Lanka, Tanzania, and the USA.
His principal research topics are music and politics on a war-peace continuum, music and minorities, applied ethnomusicology, and institutional history of ethnomusicology.
His professional career includes full-time posts as radio editor, scholar in a research institute, and professor at a music academy, department of ethnology and cultural anthropology, and department of musicology. As pedagogue, he shaped the study of ethnomusicology in Slovenia from bachelor's to doctoral level, served as a visiting professor at 12 universities, currently in Maribor, Vienna, and Zurich, and gave over a hundred invited lectures in 40 countries.
He is the President of the International Council for Traditions of Music and Dance (ICTMD, the leading international association of ethnomusicologists and ethnochoreologists worldwide) and as Chair of its Study Group on Music and Minorities.
Episode's musical sources list
Gizdava (traditional arranged by Barbara Pešut)
from CD Katice: Jungfraua, Men Art /Dom Svobode (2001). Courtesy of Tanja Drašler of Katice to Svanibor Pettan
Vrabec (composition by Hubert Pettan - Svanibor Pettan’s father)
from CD Hubert Pettan: skladatelj/composer, Cantus 98905200092 (2012)
Viva kemija (composition by Danijel Veličan)
from home cassette recording of Svanibor Pettan’s school band Vještice (1971)
Amerika (traditional)
Svanibor Pettan’s field recording of the song performed by Franjo Kirin and his family in their home in the Gradišće village in Croatia (1981)
Ko zbrani gremo vsi skoz vas (traditional)
from CD Slovenie: Musiques et chants populaires, Ocora Radio France C 600007 1997 (recording of Radio Slovenija 1975-1995). Courtesy of Teja Klobčar, editor at Radio Slovenija, to Svanibor Pettan.
Zapevala sojka ptica (traditional)
Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001)
Mravac muvu isprosio (traditional)
Svanibor Pettan & Radio Zagreb’s field recording of a song by Serbian minority performers from the village of Blinja in central Croatian Banija/Banovina region in style na glas, on LP record Narodne pjesme i plesovi iz Banije 3, ULP-2464 (1989)
Praising song for ICTM (International Council of Traditional Music)
composition and performance by Lasanthi Manaranjanie Kalinga Dona - Svanibor Pettan’ wife in Vienna at celebratory transfer of the International Council of Traditional Music headquarter from Ljubljana to Vienna (2017)
Gizdava (traditional arranged by Barbara Pešut)
from CD Katice: Jungfraua, Men Art /Dom Svobode (2001). Courtesy of Tanja Drašler of Katice to Svanibor Pettan
Mastika (traditional)
Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001)
Ilahija (traditional)
Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001)
Ati rahegi baharen (Indian film song)
Svanibor Pettan’s field recording - performed by the ensemble of Agim Hadri (singer is Faton Lugbunari) from Gjakova, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001)
Lament (traditional)
Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001)
Mravac muvu isprosio (traditional)
Svanibor Pettan & Radio Zagreb’s field recording of a song by Serbian minority performers from the village of Blinja in central Croatian Banija/Banovina region in style na glas, on LP record Narodne pjesme i plesovi iz Banije 3, ULP-2464 (1989)
Sedam zvijezdi (traditional)
Svanibor Pettan & Radio Zagreb’s field recording of a song by Serbian minority performers from the village of Blinja in central Croatian Banija/Banovina region in style na bas, on LP record Narodne pjesme i plesovi iz Banije 3, ULP-2464, (1989)
Moj dilbere (traditional)
by Bosnian-Norwegian ensemble Azra, recorded in a refugee camp in Norway in 1995 by Norwegian Television (NRT)
Gott erhalte (Kaiserlied) (composition by J. Haydn)
the Austro-Hungarian national anthem, Svanibor Pettan’s field recording of the performance of his grandmother Slava Pettan in German (1986)
Gott erhalte (Kaiserlied) (composition by J. Haydn)
the Austro-Hungarian national anthem, Svanibor Pettan’s recording of performance of his grandmother Slava Pettan in Croat (1986)
Dove tu vai Luigi (traditional)
from CD Slovenie. Musiques et chants populaires, Ocora Radio France C 600007 1997 (recording of Radio Slovenija 1975-1995). Courtesy of Teja Klobčar editor at Radio Slovenija to Svanibor Pettan
People singing and dancing "Janna, Janna, Janna" during a protest – Thessaloniki – 01.09.2016, recorded by Ioannis Christidis
Gizdava (traditional arranged by Barbara Pešut)
from CD Katice: Jungfraua, Men Art /Dom Svobode (2001). Courtesy of Tanja Drašler of Katice to Svanibor Pettan
_Special thanks to Serge Noël-Ranaivo, Ocora Radio France label Coordinator_
Disclaimer
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
22 APR 2024 · In the beginning it was plainchant with its different forms, many of which were replaced by the Gregorian chant where the Gallican and Roman traditions merged. It is to all this variety of dialects of the Christian liturgical chant - from Ambrosian to Mozarabic - that Marcel Pérès has dedicated his life as a singer and researcher. With his Ensemble Organum, created in 1982, Pérès has explored the nuances and accents of traditions handed down through the first forms of musical notation but also partly alive in oral transmission, especially in monastic practice.It is to the forms of singing of the oral tradition of the Mediterranean world that the musician, born in Oran (Algeria), turned to seek inspiration for the intonation of the divine word of the different liturgical families of Christianity, interpreting in a personal way the sources of primordial neumatic notations and infuse them with the vital breath of the voice that arises not only from the body movement but also from the movement of the soul.In his vision, the term neuma, the sign of musical writing, is indissoluble from the breath, pneuma, which adorns plainchant, one of the main roots of the history of music in the West and also part of the music of the Near East.
About Marcel Pérès
After studying organ and composition at the Nice Conservatory, Marcel Pérès continued his training in Great Britain and Canada. Returning to Europe in 1979, he specialized in medieval music. In 1982 he founded the Ensemble Organum, and undertook with them a methodical exploration of medieval liturgical repertoires, which resulted in international acclaim. He recorded about fifty discs - most of which have received the highest awards: the Diapason d'or, Classical Awards, Choc de l'année du Monde de la Musique, and the New York Times’ Essential Records of the 20th Century.
https://www.uni-med.net/wp-content/uploads/2024/04/Marcel-Peres.pdf
Episode's musical sources list
Spanish Singers, Sanctus
Marcel Pérès live recording
Ensemble Organum: Antiphona Alleluia. Psalmus 112 Laudate pueri
from: Chants de l'Église de Rome Vêpres du jour de Pâques, Harmonia Mundi (1998)
Ensemble Organum: Gloria in excelsis Deo
from: Chant Mozarabe Cathédrale de Tolède (XVe siècle), Harmonia Mundi (1995)
Ahmed Saher: Allaho akbar
from: In memoria eterna, Harmonia Mundi (2021)
Ensemble Organum: Rachid El Mazzaoui: In memoria eterna - Homo al l’jibalo
from: In memoria eterna, Harmonia Mundi (2021)
Ensemble Organum: Prosule Tarakto baba arraja
from: In memoria eterna, Harmonia Mundi (2021)
Ensemble Organum: Deo gratias
from: Machaut Messe de Notre Dame, Harmonia Mundi (1996)
Disclaimer
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
22 APR 2024 · In the beginning it was plainchant with its different forms, many of which were replaced by the Gregorian chant where the Gallican and Roman traditions merged. It is to all this variety of dialects of the Christian liturgical chant - from Ambrosian to Mozarabic - that Marcel Pérès has dedicated his life as a singer and researcher. With his Ensemble Organum, created in 1982, Pérès has explored the nuances and accents of traditions handed down through the first forms of musical notation but also partly alive in oral transmission, especially in monastic practice.It is to the forms of singing of the oral tradition of the Mediterranean world that the musician, born in Oran (Algeria), turned to seek inspiration for the intonation of the divine word of the different liturgical families of Christianity, interpreting in a personal way the sources of primordial neumatic notations and infuse them with the vital breath of the voice that arises not only from the body movement but also from the movement of the soul.In his vision, the term neuma, the sign of musical writing, is indissoluble from the breath, pneuma, which adorns plainchant, one of the main roots of the history of music in the West and also part of the music of the Near East.
About Marcel Pérès
After studying organ and composition at the Nice Conservatory, Marcel Pérès continued his training in Great Britain and Canada. Returning to Europe in 1979, he specialized in medieval music. In 1982 he founded the Ensemble Organum, and undertook with them a methodical exploration of medieval liturgical repertoires, which resulted in international acclaim. He recorded about fifty discs - most of which have received the highest awards: the Diapason d'or, Classical Awards, Choc de l'année du Monde de la Musique, and the New York Times’ Essential Records of the 20th Century.
https://www.uni-med.net/wp-content/uploads/2024/04/Marcel-Peres.pdf
Episode's musical sources list
Ensemble Organum: Kyrie
from: Machaut Messe de Notre Dame, Harmonia Mundi (1996)
Francesco Cera: Messa Della Madonna – Christe
from: Girolamo Frescobaldi Toccate – Capricci – Fiori Musicali, Arcana (2019)
Ensemble Organum: Office des lectures - III. Gloria in excelsis Deo
from: Chant Mozarabe, Harmonia Mundi (1995)
Francesco Cera: Messa Della Domenica - Canzon Dopo l'Epistola
from: Girolamo Frescobaldi Toccate – Capricci – Fiori Musicali, Arcana (2019)
Ensemble Organum: Sanctus
from: École Notre-Dame Messe Du Jour De Noël, Harmonia Mundi (1985)
Ensemble Organum: Kyrie
from: Chant Corse Manuscrits Franciscains (XVIIe-XVIIIe Siècles), Harmonia Mundi (1994)
Corsican Singers, Mamma risponde nun posso
Marcel Pérès live recording
Spanish Singers, Sanctus
Marcel Pérès live recording
Disclaimer
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
21 MAR 2024 · La langue musicale du MAQÂM et ses éléments clés is the third episode of https://www.uni-med.net/publications/mediterranean-intangible-heritage-sounscape-unimed-podcast/, and is in French.
At the source of the different musical cultures flowing into the Mediterranean world is what Nidaa Abou Mrad calls a modal monodic "language", with its different "dialects". In the Mashreq, the musical system defined by the term maqâm, represents a great transnational tradition of ancient origin and still alive. Between the end of the 19th century and the beginning of the 20th, this tradition was reinvigorated thanks to masters and singers active in Egypt who - on a musical level - contributed to the artistic rebirth and intellectual awakening of the Mashreq, known - from an historical point of view - as Nahda.
Through intense concert activity, study and analysis, Abou Mrad - interviewed in this episode - has illustrated in depth the nature of the maqâm musical system, researching its roots in ancient musical civilisations, to underline the importance and value of this heritage.
About Nidaa Abou Mrad
Nidaa Abou Mrad, professor of Musicology and musical doctor, is the Dean of the Faculty of Music and Musicology and the Director of the Research Centre on Musical Traditions at the Antonine University in Lebanon.
He authored Éléments de sémiotique modale, an essay on generative grammar for monodic traditions, for which he won the CNRS-L Annual Research Excellence Award in 2017. He has published forty articles on the musical traditions of Mashreq and twenty CDs where, with the Ensemble of Arabic Classical Music, he performs on the violin (in an improvisatory way) sequences from the literate musical tradition of Mashreq and some of his own traditional modal compositions.
Episode's musical sources list
Taqsim bayyati
Nidaa Abou Mrad in Waṣalāt Parcours Instrumentaux de la Renaissance Arabe (2010)
Taqsîm en Maqâm Râst
Fawzi Sayeb in Fawzi Sayeb in Concert Master of the taqsîm, Byblos (2001)
Chant rūm orthodoxe en arabe de Pâque « Inn al-Malāk »
Dimitri Koutiyya
Hymne hourrite
Rafka Rizk in 4000 ans de musique au Levant, Ensemble de musique classique
arabe de l’Université Antonine (2018)
Prélude & chant abbassides
Mohammad Ayach in 4000 ans de musique au Levant, Ensemble de musique
classique arabe de l’Université Antonine (2018)
Mawwāl & Taqtūqa (Musique populaire / Egypte)
in Congrès du Caire 1932, Institut du Monde Arabe / Bibliothèque Nationale –
France (1988)
Yā leyl maqām Nahāwand
Cheikh Yūsuf Al-Manyalāwī (78 tours)
Samâ'î Râst
Ensemble de Musique Classique Arabe in Waṣalāt parcours instrumentaux de la
Renaissance arabe (2010)
Muwaššaḥ Wal-laḏī askara
Cheikh Sayyid a-ṣ-Ṣafṭī (78 tours)
Yā leyl et Dōr Kādnī l-hawā maqām Nahāwand Cheikh
Yūsuf Al-Manyalāwī (78 tours)
Mawwāl Bi-kulli marsūm
Cheikh Yūsuf Al-Manyalāwī (78 tours)
Qaṣīda Ukaḍḍibu nafsī maqām Sīkāh
Cheikh Yūsuf Al-Manyalāwī (78 tours)
Dârij Bayyâtî
Ensemble de Musique Classique Arabe in Waṣalāt parcours instrumentaux de la
Renaissance arabe (2010)
Disclaimer
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
22 FEB 2024 · This episode will let us travel in the Bosnian musical tradition, and in particular in the city of Sarajevo.
Unrequited love is the fuel of the melancholic fire that burns in the heart of the Bosnian urban song of Sarajevo. Longing, desire, jealousy are the main subjects of the lyrics of the sevdah that has its roots in the Ottoman era and more generally in the Near East musical sensibility.
Damir Imamović, interviewed in this episode, is a new generation singer and composer with a deep knowledge of the traditions of this heritage that represents the sounding soul of the city.
He grew up in a family of musicians and he is the nephew of the prestigious and beloved Zaim Imamović one of the historical protagonist of the sevdah scene of the 20th century.
About Damir Imamović
Damir Imamović is a musician, a singer and a composer from Sarajevo. He works on Bosnian traditional music and in particular on Bosnian love song, called sevdah. Growing up in a family of sevdah bards, Damir was immersed in the world of Balkan traditional music at a very young age. He started tracing his own path in sevdah in the early 2000s. Damir’s art is deeply rooted in his research and educational work. Apart from his performances, Damir teaches within his own SevdahLab project. More information about Damir Imamović is available here http://en.damirimamovic.com/about.
Episode's musical sources list
Intro
Damir Imamović in Sevdah Takht
Sarajevo
Damir Imamović in Dvojka, Glitter Beat
Okreni se niz djul bascu (Hamid Dizdar - Isak Samokovlija)
Zaim Imamović
available on Sevdah Treasure Soundcloud page
https://soundcloud.com/semir-vranic/zaim-imamovic-okreni-se-niz-dul-bascu
Pokraj Save bagrem drvo raste (traditional)
Emina Zečaj and Selim Salihović
available on Sevdah Treasure Soundcloud page
https://soundcloud.com/semir-vranic/emina-zecaj-pokraj-save-bagrem-drvo-raste
https://www.youtube.com/watch?v=pddvtcx0nVk
Izidji der Fato (traditional)
Zaim Imamović and Alajbegović-Petković
available on Sevdah Treasure Soundcloud page
https://soundcloud.com/semir-vranic/zaim-imamovic-izidi-der-fato-prvi-snimak
https://www.youtube.com/watch?v=asrU2PSHN_0
Ženi majka na silu Omera (Mother forced Omer into getting married)
Rasema Katama
available on Sevdah Treasure Soundcloud page
https://soundcloud.com/semir-vranic/blago-iz-naseg-arhiva-rasema-katana-nezic
Novo fado da Severa (Frederico de Freitas)
Dina Teresa available on Museu do Fado website
https://arquivosonoro.museudofado.pt/interprete/184/dina-teresa
Rado, Kćeri Rado (traditional / D. Imamović)
Damir Imamović Trio in Abrašević Live
Snijeg pade na behar na voce (traditional / arr. Ante Gelo and Boško Jović)
Amira Medunjanin and Zagrebački Solisti Live concert in Zagreb
https://www.youtube.com/watch?v=UjrGAgLstGg
Lijepa Mara (based on Emina Zečaj version)
Damir Imamović in Dojka, Glitter Beat
Je li rano (traditional / D. Imamović)
Damir Imamović in Dojka, Glitter Beat
Disclaimer
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
22 JAN 2024 · This episode will let us travel in the Syrian musical tradition, and in particular in Aleppo's ones. Jonathan Holt Shannon, interviewed for this episode, traces an historical excursus in the traditional music ending up in the contemporary Syrian scenario affected by the war and consequent migrations.
When Shannon's book Among the Jasmine Trees: Music and Modernity in Contemporary Syria was published in 2006, Aleppo was still the Syrian musical city par excellence, famous for having been able to preserve its precious traditional musical heritage.
In this episode, recorded before the tragic earthquake of 6 February 2023, the anthropologist and ethnomusicologist - who spent a long time in Syria - explains the cultural and musical importance of this city in the context of the Arab world, and talks about his field research and the meetings with musicians before and after the dramatic civil war that forced a large part of Aleppo's population into exile.
About Jonathan Holt Shannon
Dr. Jonathan H. Shannon is a professor at the Department of Anthropology of Hunter College of New York. He teaches courses in the anthropology of music and the arts, as well as Middle East studies, food, culture and politics. He is a Guggenheim fellow and has authored two influential monographs on Middle Eastern music. His research focuses on musical cultures of the Arab world and Mediterranean with a special focus on Syria, Morocco and Spain.
Dr. Shannon's more recent research focuses on the music of Syrian refugees in Turkey, Germany and Sweden.
Episode's musical sources list
Qadd Yallah Sawa
Al Turath Ensemble da Jardines de Jazmín, Pneuma PN 310 (2001)
(Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA)
Samai hozam (traditional)
Al Turath Ensemble from Jardines de Jazmín, Pneuma PN 310 (2001)
(Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA)
Habibi ala al’Dunya
Sabah Fakhri
from Sabah Fakhri Au palais des congrès, Polydor 2672 055 / Alep Disques 2672 055 (1978) https://www.youtube.com/watch?v=oxJ4dolAttg
Ana fi intizarak (Zakarya Ahmad – Bayram Tunsi)
Umm Kulthum
https://www.youtube.com/watch?v=yYZG-ihqnDc
Taqsim for ‘ud
recorded by Jonathan Shannon (2021)
Dulab Hozam (traditional)
Al Turath Ensemble from Jardines de Jazmín, Pneuma PN 310 (2001)
(Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA)
Layali (unmetered modal improvisation)
Mohammed Hamadye recorded by Jonathan Shannon in Istanbul, January 2019
Yamorro Oujban (Omar al-Batsch – arranged by Göksel Baktagir)
From Aleppo To Istanbul Project (live recording 2019)
https://www.youtube.com/watch?v=8wuoPKDqdW8
Samai hozam (traditional)
Al Turath Ensemble from Jardines de Jazmín, Pneuma PN 310 (2001)
(Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA)
Golden Flowers by Ajam quartet
Composer Or Rozenfeld.
Ajam quartet are an active band from Berlin
Website: https://www.ajamquartet.com/
Mshaweerak Bilfada (Nour Yamm)
https://www.youtube.com/watch?v=xiEPRv5Cq8M
http://bit.ly/40FpK7b
http://bit.ly/391pVQI
http://bit.ly/2saIPno
http://bit.ly/2tzaTBi
Dhikr
recorded by Jonathan Shannon at Othmaniyya Mosque in Alep (2006)
Zakhrafa (Samer Ali)
Takht al-Nagham (live recording 2019)
https://www.youtube.com/watch?v=n6VjsvT6o3s
More information https://syrianmusic.org/
Between the Strings (Diab Mekari - Arif Altunkaya)
Diab Mekari
https://www.youtube.com/watch?v=ygwQIBpzvZY
℗ Planet East (Royalty free - Music For Your Videos)
Disclaimer
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
Poking around the Mediterranean, this podcast gives voice to researchers, scholars, performers, and artists who are digging through its rich intangible heritage with music and poetry always in mind. Paolo...
show more
Poking around the Mediterranean, this podcast gives voice to researchers, scholars, performers, and artists who are digging through its rich intangible heritage with music and poetry always in mind.
Paolo Scarnecchia, author of the podcast, in each episode meets experts, performers and artists who will present the musical traditions, passed down from generation to generation, and influenced by migrations, history and people all along the centuries in the Mediterranean region. In this journey, we will also explore how this heritage continues to evolve nowadays.
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
About the Author
Paolo Scarnecchia is responsible for the UNIMED Music sector.
He has taught History of Music and History of non-European Music in many Italian conservatories, and has been Adjunct Professor at the University of Naples "L'Orientale", the Suor Orsola Benincasa University Institute of Naples, and Sapienza University of Rome.
He counts an active participation in international conferences, in Italy and abroad, on the musical culture of the Mediterranean region and in particular of the Near East. He has directed festivals and international music festivals and collaborated with several magazines.
He never stopped writing for Il Giornale della Musica and producing radio programs, dealing nowadays mainly with Early Music.
Among his publications it is worth to mention Popular music and cultured music - Enciclopedia del Mediterraneo, Jaca Book 2000 (also published in Spanish, French and Arabic).
About UNIMED
UNIMED - Mediterranean Universities Union - is a network of Higher Education and Research Institutions, founded in 1991, and active in promoting academic cooperation in the Euro-Mediterranean region and in Sub-Saharan Africa, in the Middle East and in Western Balkans. It counts more than 150 associated Universities coming from more than 20 countries.
Copyright
CC BY-NC-ND 4.0 DEED
show less
Paolo Scarnecchia, author of the podcast, in each episode meets experts, performers and artists who will present the musical traditions, passed down from generation to generation, and influenced by migrations, history and people all along the centuries in the Mediterranean region. In this journey, we will also explore how this heritage continues to evolve nowadays.
Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.
About the Author
Paolo Scarnecchia is responsible for the UNIMED Music sector.
He has taught History of Music and History of non-European Music in many Italian conservatories, and has been Adjunct Professor at the University of Naples "L'Orientale", the Suor Orsola Benincasa University Institute of Naples, and Sapienza University of Rome.
He counts an active participation in international conferences, in Italy and abroad, on the musical culture of the Mediterranean region and in particular of the Near East. He has directed festivals and international music festivals and collaborated with several magazines.
He never stopped writing for Il Giornale della Musica and producing radio programs, dealing nowadays mainly with Early Music.
Among his publications it is worth to mention Popular music and cultured music - Enciclopedia del Mediterraneo, Jaca Book 2000 (also published in Spanish, French and Arabic).
About UNIMED
UNIMED - Mediterranean Universities Union - is a network of Higher Education and Research Institutions, founded in 1991, and active in promoting academic cooperation in the Euro-Mediterranean region and in Sub-Saharan Africa, in the Middle East and in Western Balkans. It counts more than 150 associated Universities coming from more than 20 countries.
Copyright
CC BY-NC-ND 4.0 DEED
Information
| Author | UNIMED |
| Organization | UNIMED |
| Categories | Music Commentary , Society & Culture , Education |
| Website | www.uni-med.net |
| unimed@uni-med.net |
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