DROM http://www.drom-kba.eu/ Promotion des cultures populaires de tradition orale et de la musique modale fr SPIP - www.spip.net DROM https://www.drom-kba.eu/local/cache-vignettes/L144xH87/siteon0-8443f.png?1729079969 http://www.drom-kba.eu/ 87 144 Johanni Curtet's conference on Mongolian overtone singing https://www.drom-kba.eu/Johanni-Curtet-s-conference-on-Mongolian-overtone-singing.html https://www.drom-kba.eu/Johanni-Curtet-s-conference-on-Mongolian-overtone-singing.html 2018-01-13T11:37:00Z text/html en Association Drom <p>Conference by Johanni Curtet : Search, Play and Transmit</p> - <a href="https://www.drom-kba.eu/-Resources-in-modal-music-.html" rel="directory">Resources in modal music</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH85/arton457-adf04.png?1729091052' width='150' height='85' /> <div class='rss_texte'><p>Johanni Curtet, ethnomusicologist, musician, diphoneur. Associate Researcher EA 1279 History and Criticism of the Arts, Rennes University 2. Artistic Director of Routes Nomades.</p> <p>At the meeting of overtone singing in Mongolia, Johanni Curtet had to grasp other conceptions of transmission, and even other perceptions of the musical act, than those carried by her Western culture.</p> <p>In a sort of "human epistemology", he will present a vision of his place as a young ethnomusicologist, himself a musician and transmitter of the overtone singing, in this Mongolian reality.</p> <p>It is based on videos and sound recordings describing, sometimes with humor and distancing, the cultural and musical realities of Mongolia and its integration in this world.</p> <p><i>Organized in the framework of the festival NoBorder 2015 In partnership with the University of Western Brittany (UFR Letters, Languages ​​and Humanities) and with the participation of the conference lecturers Annick Madec for the laboratory LABERS and Nelly Blanchard for the Research Center Breton and Celtic (CRBC)<br class='autobr' /> </i></p></div> Bibliography https://www.drom-kba.eu/Bibliography.html https://www.drom-kba.eu/Bibliography.html 2012-06-26T19:44:23Z text/html en Rwan <p>A few reference works on modal understanding.</p> - <a href="https://www.drom-kba.eu/-Resources-in-modal-music-.html" rel="directory">Resources in modal music</a> <div class='rss_texte'><p><strong>A few reference works on modal understanding.</strong></p> <p>BEYHOM Amine, Systématique modale : modélisation des échelles musicales sur une grille de 24 quarts de ton, in Antouniah n°6, Presses de l'université Antonine, Baabda-Liban, 2005</p> <p>BEYHOM Amine, Systématique modale : génération et classement d'échelles modales, in Musurgia XI/, Paris, 2004</p></div> Opening up to modal music https://www.drom-kba.eu/Opening-up-to-modal-music-a.html https://www.drom-kba.eu/Opening-up-to-modal-music-a.html 2012-06-26T19:43:26Z text/html en Rwan <p>A presentation by Amine Beyhom and Erik Marchand<br class='manualbr' />On Wednesday 16 November 2011, the conference will be preceded by a talk on modal music given by Amine Beyhom and Erik Marchand. While setting the tone for the next few days, this buffet event at Le Quartz will also be an opportunity to present the theoretical basis of modal music. This presentation is open to all interested parties.</p> - <a href="https://www.drom-kba.eu/-Resources-in-modal-music-.html" rel="directory">Resources in modal music</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH103/arton175-81299.jpg?1729091052' width='150' height='103' /> <div class='rss_texte'><p>Amine Beyhom, a musicologist specializing in maqām music (arabo-turkish-persian music) and traditional European music, plays the oud and the fretless guitar. His cultural background in both Eastern and traditional Western music underlies the theme of the conference: the role of modality as a bridge between East and West.</p> <p>Erik Marchand, who is a singer, a researcher, and the educational director of the DROM association, is also a prominent performer of contemporary Breton music, a type of music which has an almost philosophical dimension to its evolution and rich musical diversity. Through songs as much as through words, he will share his knowledge of the particular rules used in the interpretation of Breton music: scale, rhythm, variation, etc.</p> <p>Time and venue to be assigned.</p></div> A new magazine devoted to music from the Near East https://www.drom-kba.eu/A-new-magazine-devoted-to-music-from-the-Near-East.html https://www.drom-kba.eu/A-new-magazine-devoted-to-music-from-the-Near-East.html 2011-10-16T09:14:00Z text/html fr Association Drom <p>The ICONEA and CERMAA research centers launch the journal NEMO, Near-Eastern Musicology Online. Amine Beyhom, who collaborates with Drom on many levels, is one of the founders.</p> - <a href="https://www.drom-kba.eu/-Resources-in-modal-music-.html" rel="directory">Resources in modal music</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH111/arton752-debd8.png?1729091052' width='150' height='111' /> <div class='rss_chapo'><p>The ICONEA and CERMAA research centers launch the journal NEMO, Near-Eastern Musicology Online. Amine Beyhom, who collaborates with Drom on many levels, is one of the founders.</p></div> <div class='rss_texte'><p><a href="http://nemo-online.org/" class='spip_out' rel='external'>NEMO</a> is dedicated to research on ancient and current music from the Near and Middle East, as well as other music that can enrich this research. The means of study of this interdisciplinary field range from archaeomusicology to analytical musicology, including historical, systematic, cognitive, ethnomusicological or anthropological approaches.</p> <p>NEMO will devote particular attention to modality, as a possible link between the music of an area that extends at least from Western Europe to the Arabian Peninsula, and from Iran to Central Africa.</p> <p>NEMO integrates and replaces the old journal ARANE. It is co-edited by Richard Dumbrill (<a href="http://www.iconea.org/" class='spip_out' rel='external'>ICONEA</a>) and Amine Beyhom (<a href="http://foredofico.org/CERMAA/" class='spip_out' rel='external'>CERMAA</a>) and administered by ICONEA. Amine Beyhom is Editor-in-Chief, assisted by Rosy Azar Beyhom.</p> <p>NEMO wants to be the vector of an active musicology of music from the Near and Middle East and elsewhere, without concessions on the quality and relevance of the articles published, with a permanent concern for the promotion of this music through a better understanding. their structures and their spread or extinction. NEMO's editorial board, made up of internationally renowned musicologists, is committed to publishing the best articles submitted to the journal.</p> <p><strong>Editorial committee (in alphabetical order) :</strong></p> <p>Amine Beyhom (CERMAA – FOREDOFICO ; Lebanon) ;<br class='autobr' /> Philippe Brunet (University of Rouen ; France) ;<br class='autobr' /> Jérôme Cler (PLM – University of the Sorbonne-Paris IV ; France) ;<br class='autobr' /> Richard Dumbrill (ICONEA, Institute of Musical Research, School of Advanced Study, University of London ; Great Britain) ;<br class='autobr' /> Jean During (CNRS ; France) ;<br class='autobr' /> Bruno de Florence (ICONEA, Institute of Musical Research, School of Advanced Study, University of London ; Great Britain) ;<br class='autobr' /> Paul Mattar (CERMAA Center – FOREDOFICO / IESAV – St-Joseph University ; Lebanon) ;<br class='autobr' /> Nicolas Meeùs (PLM group – University of the Sorbonne-Paris IV ; France) ;<br class='autobr' /> Mourad Sakli (ISM of Tunis / CMAM ; Tunisia)</p> <p><strong>Writing and submission standards :</strong></p> <p>Authors are solely responsible for the content of their articles. Articles should be sent in German, English, Arabic or French to Amine Beyhom ; they must be submitted in “.doc” or “.rtf” format and be accompanied by a verification “.pdf”. Notes should be numbered continuously and included at the bottom of the page. Illustrations, in black and white or in color, must be provided in at least 300 dpi in “.jpg” or “.tif” formats, and numbered with cross-references in the text (“see Fig. X, Tabl. Y”) . The illustrations, photos, sheet music etc. subject to copyright must be accompanied by the written authorization of the rights holders. The article must not exceed in volume about thirty pages of 1800 characters each, the standard being between 15 and 20 pages ; however, in-depth articles justifying voluminous treatment may, on an exceptional basis, be taken into account for publication. Quotations must be clearly identifiable, by putting them in quotation marks or by detaching them from the body of the text and indenting the quotation ; quotes in foreign languages ​​should be italicized ; translations of texts must be accompanied, in notes, by the translated original placed between quotation marks. Finally, the name of the author will be accompanied by a note indicating his titles and qualities, and the article must be accompanied by an abstract in English of 10 to 20 lines at most, with the exception of articles in Arabic. which will be accompanied by a summary of 30 to 40 lines.</p> <p>The bibliographical references must be grouped together at the end of the article, and include sufficient indications for an identification of the cited reference (we recommend the use of the conventions of the Bibliography of the Modality). Transliterations must imperatively follow the journal's standards : transliteration tables and other additional information will soon be available on the journal's website (<a href="http://www.nemo-online.org" class='spip_url spip_out auto' rel='nofollow external'>www.nemo-online.org</a>). The Arabic transliteration can be downloaded here.</p> <p><strong>Edit protocol :</strong></p> <p>The article is first reviewed for consistency and compliance with submission standards by the editorial board, then sent to two double-blind reviewers for corrections and possible requests for changes. In the event of acceptance of the article and agreement of the author and the evaluators, the author will be able to re-read, after corrections approved by the editorial board, the first proofs of his article which he will return corrected or will approve in as soon as possible.</p> <p><strong>Theme of the first issue of the journal :</strong></p> <p>The theme of the first issue of the journal is “<strong> The modality in question</strong>” ; off-topic articles, as well as forums, may be considered for publication in this issue or in one of the following issues. A discussion of the different issues that can be addressed as well as additional information are available on the NEMO website, as well as a basic bibliography of the modality, prepared by the editorial board and intended to be enriched by the contribution of readers. <br class='autobr' /> Articles must be sent, for this first issue, before the end of November 2011.<br class='autobr' /> (CERMAA collaborates, within FOREDOFICO, the Lebanese foundation for music and the arts, with CETEP, the Center for Translation, Editing and Publication of the foundation)</p></div> Modality, Brittany, Music https://www.drom-kba.eu/Modality-Brittany-Music.html https://www.drom-kba.eu/Modality-Brittany-Music.html 2011-06-26T19:38:00Z text/html en Rwan <p>Erik Marchand discusses modality in world music and in the music of Brittany.</p> - <a href="https://www.drom-kba.eu/-Resources-in-modal-music-.html" rel="directory">Resources in modal music</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH104/arton174-ba068.jpg?1729091052' width='150' height='104' /> <div class='rss_texte'><p>Up until the 1950s, traditional Breton music, which was essentially monodic, had very little contact with classical western harmony. Then, the introduction of equal temperaments in bombards and bagpipes in bagadoù, and subsequently the influence of the folk movement (through Irish music and rock) established the harmonic orchestration as the norm in Breton musical creation. The success brought about by this aesthetic choice should not make us forget the modal origins of this traditional music, which is still practiced today in its local forms such as the kan ha diskan, call and response singing, gwerzioù (lament) and “chant de haute voix” (a cappella), treujenn-gaol (clarinet) players, and instrumental duos (bombard-bagpipes).</p> <p>In his book “La musique du nord de l'Inde” Alain Danielou pointed out a fundamental problem: “Recent attempts, in India and in other Middle-East countries, to write orchestral music that combines elements of counterpoint and polyphony with modal forms derive from poor understanding of what makes modal music such a unique means of expression.” This problem posed by the orchestration of Eastern modal music has also been encountered in Breton musical tradition.</p> <p>We do not deny that harmony brought much creativity in Breton music. We do believe, however, that today it is necessary to rethink ensemble playing, using the founding musical systems of our traditional music.</p> <p>In 1983, Thierry “Titi” Robin and Erik Marchand began to analyze the role of temperament in traditional music*. Their study, which has not yet been published, has revealed the existence of specific scales in the Breton repertoire, characterized by the use of three-quarter tones. The researchers conducted their analysis using their own equipment, as well as the instruments provided by the CNET (Lannion) and the IRCAM (Paris).</p> <p>This is how the researchers summarized their project: “The driving motivation behind our initiative comes from the certainty that the temperaments (the structure of the musical edifice) which are specific to a particular repertoire are themselves an essential part – in the true sense of the term – of the musical message, its expressive power and its specificity. Cataloguing this basic “vocabulary” will inevitably enrich the performance of singers, composers and music teachers. The goal is as follows: to allow for a formal evolution of music interpretation and of the repertoire, an evolution whose driving force and laws would be grounded in its own cultural roots.</p> <p>As a practical point, this research gave birth to two creative albums, which received the support of Dastum, the UPCP and the AMTA, as well as financial assistance from the Regional Council of Brittany and the Ministry of Culture.</p> <p>Erik Marchand and Thierry Robin: “An heñchoù treuz” (Ocora, 1990) and Erik Marchand Trio: “An Tri Breur” (Silex-Auvidis, 1991).</p> <p>In his album KAN (BMG, 2000) Erik Marchand emphasizes the modes common to Breton, Galician and Malian monody and Albanian polyphony, as well as, to a lesser extent, Sardinian polyphony. These vocal expressions use elements of non-equal temperament.</p> <p>The growing interest in world music has made it possible to introduce European audiences to traditional music orchestras composed of numerous participants, singers or instrumentalists, and a diversified instrumentation. Among such performers, we can mention Nusrat Fateh Ali Khan, Alem Kasimov, the Zanzibar Tarab and all nuba orchestras from North Africa, as well as Arab-Andalusian music orchestras, and the late singer Oum Kalthoum.</p> <p>It is our belief that there is today a need to form a large Breton orchestra that could answer the fascinating challenge of reviving the modal tradition of our region. The purpose of such an orchestra would also be to provide young Breton musicians with a musical culture that is often neglected in formal and community-based education.</p> <p>We deem it imperative that the subsequent graduates of Kreizh Breizh Akademi be allowed to become instructors in modality and other particularities of Breton music. Some of these instructors may also be eligible to take over the management of future orchestras.</p> <p>On the other hand, we believe it would be useful to allow students or musicians wishing to work with modal music to have the possibility of studying this particular aspect of Breton music. This will ensure the continuation of this work, and will confirm the academic concept.</p> <p>Text written by Erik Marchand</p></div>
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<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH85/arton457-adf04.png?1729091052' width='150' height='85' /> <div class='rss_texte'><p>Johanni Curtet, ethnomusicologist, musician, diphoneur. Associate Researcher EA 1279 History and Criticism of the Arts, Rennes University 2. Artistic Director of Routes Nomades.</p> <p>At the meeting of overtone singing in Mongolia, Johanni Curtet had to grasp other conceptions of transmission, and even other perceptions of the musical act, than those carried by her Western culture.</p> <p>In a sort of "human epistemology", he will present a vision of his place as a young ethnomusicologist, himself a musician and transmitter of the overtone singing, in this Mongolian reality.</p> <p>It is based on videos and sound recordings describing, sometimes with humor and distancing, the cultural and musical realities of Mongolia and its integration in this world.</p> <p><i>Organized in the framework of the festival NoBorder 2015 In partnership with the University of Western Brittany (UFR Letters, Languages ​​and Humanities) and with the participation of the conference lecturers Annick Madec for the laboratory LABERS and Nelly Blanchard for the Research Center Breton and Celtic (CRBC)<br class='autobr' /> </i></p></div> </content:encoded>
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<content:encoded><div class='rss_texte'><p><strong>A few reference works on modal understanding.</strong></p> <p>BEYHOM Amine, Systématique modale : modélisation des échelles musicales sur une grille de 24 quarts de ton, in Antouniah n°6, Presses de l'université Antonine, Baabda-Liban, 2005</p> <p>BEYHOM Amine, Systématique modale : génération et classement d'échelles modales, in Musurgia XI/, Paris, 2004</p></div> </content:encoded>
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<description><p>A presentation by Amine Beyhom and Erik Marchand<br class='manualbr' />On Wednesday 16 November 2011, the conference will be preceded by a talk on modal music given by Amine Beyhom and Erik Marchand. While setting the tone for the next few days, this buffet event at Le Quartz will also be an opportunity to present the theoretical basis of modal music. This presentation is open to all interested parties.</p> - <a href="https://www.drom-kba.eu/-Resources-in-modal-music-.html" rel="directory">Resources in modal music</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH103/arton175-81299.jpg?1729091052' width='150' height='103' /> <div class='rss_texte'><p>Amine Beyhom, a musicologist specializing in maqām music (arabo-turkish-persian music) and traditional European music, plays the oud and the fretless guitar. His cultural background in both Eastern and traditional Western music underlies the theme of the conference: the role of modality as a bridge between East and West.</p> <p>Erik Marchand, who is a singer, a researcher, and the educational director of the DROM association, is also a prominent performer of contemporary Breton music, a type of music which has an almost philosophical dimension to its evolution and rich musical diversity. Through songs as much as through words, he will share his knowledge of the particular rules used in the interpretation of Breton music: scale, rhythm, variation, etc.</p> <p>Time and venue to be assigned.</p></div> </content:encoded>
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<description><p>The ICONEA and CERMAA research centers launch the journal NEMO, Near-Eastern Musicology Online. Amine Beyhom, who collaborates with Drom on many levels, is one of the founders.</p> - <a href="https://www.drom-kba.eu/-Resources-in-modal-music-.html" rel="directory">Resources in modal music</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH111/arton752-debd8.png?1729091052' width='150' height='111' /> <div class='rss_chapo'><p>The ICONEA and CERMAA research centers launch the journal NEMO, Near-Eastern Musicology Online. Amine Beyhom, who collaborates with Drom on many levels, is one of the founders.</p></div> <div class='rss_texte'><p><a href="http://nemo-online.org/" class='spip_out' rel='external'>NEMO</a> is dedicated to research on ancient and current music from the Near and Middle East, as well as other music that can enrich this research. The means of study of this interdisciplinary field range from archaeomusicology to analytical musicology, including historical, systematic, cognitive, ethnomusicological or anthropological approaches.</p> <p>NEMO will devote particular attention to modality, as a possible link between the music of an area that extends at least from Western Europe to the Arabian Peninsula, and from Iran to Central Africa.</p> <p>NEMO integrates and replaces the old journal ARANE. It is co-edited by Richard Dumbrill (<a href="http://www.iconea.org/" class='spip_out' rel='external'>ICONEA</a>) and Amine Beyhom (<a href="http://foredofico.org/CERMAA/" class='spip_out' rel='external'>CERMAA</a>) and administered by ICONEA. Amine Beyhom is Editor-in-Chief, assisted by Rosy Azar Beyhom.</p> <p>NEMO wants to be the vector of an active musicology of music from the Near and Middle East and elsewhere, without concessions on the quality and relevance of the articles published, with a permanent concern for the promotion of this music through a better understanding. their structures and their spread or extinction. NEMO's editorial board, made up of internationally renowned musicologists, is committed to publishing the best articles submitted to the journal.</p> <p><strong>Editorial committee (in alphabetical order) :</strong></p> <p>Amine Beyhom (CERMAA – FOREDOFICO ; Lebanon) ;<br class='autobr' /> Philippe Brunet (University of Rouen ; France) ;<br class='autobr' /> Jérôme Cler (PLM – University of the Sorbonne-Paris IV ; France) ;<br class='autobr' /> Richard Dumbrill (ICONEA, Institute of Musical Research, School of Advanced Study, University of London ; Great Britain) ;<br class='autobr' /> Jean During (CNRS ; France) ;<br class='autobr' /> Bruno de Florence (ICONEA, Institute of Musical Research, School of Advanced Study, University of London ; Great Britain) ;<br class='autobr' /> Paul Mattar (CERMAA Center – FOREDOFICO / IESAV – St-Joseph University ; Lebanon) ;<br class='autobr' /> Nicolas Meeùs (PLM group – University of the Sorbonne-Paris IV ; France) ;<br class='autobr' /> Mourad Sakli (ISM of Tunis / CMAM ; Tunisia)</p> <p><strong>Writing and submission standards :</strong></p> <p>Authors are solely responsible for the content of their articles. Articles should be sent in German, English, Arabic or French to Amine Beyhom ; they must be submitted in “.doc” or “.rtf” format and be accompanied by a verification “.pdf”. Notes should be numbered continuously and included at the bottom of the page. Illustrations, in black and white or in color, must be provided in at least 300 dpi in “.jpg” or “.tif” formats, and numbered with cross-references in the text (“see Fig. X, Tabl. Y”) . The illustrations, photos, sheet music etc. subject to copyright must be accompanied by the written authorization of the rights holders. The article must not exceed in volume about thirty pages of 1800 characters each, the standard being between 15 and 20 pages ; however, in-depth articles justifying voluminous treatment may, on an exceptional basis, be taken into account for publication. Quotations must be clearly identifiable, by putting them in quotation marks or by detaching them from the body of the text and indenting the quotation ; quotes in foreign languages ​​should be italicized ; translations of texts must be accompanied, in notes, by the translated original placed between quotation marks. Finally, the name of the author will be accompanied by a note indicating his titles and qualities, and the article must be accompanied by an abstract in English of 10 to 20 lines at most, with the exception of articles in Arabic. which will be accompanied by a summary of 30 to 40 lines.</p> <p>The bibliographical references must be grouped together at the end of the article, and include sufficient indications for an identification of the cited reference (we recommend the use of the conventions of the Bibliography of the Modality). Transliterations must imperatively follow the journal's standards : transliteration tables and other additional information will soon be available on the journal's website (<a href="http://www.nemo-online.org" class='spip_url spip_out auto' rel='nofollow external'>www.nemo-online.org</a>). The Arabic transliteration can be downloaded here.</p> <p><strong>Edit protocol :</strong></p> <p>The article is first reviewed for consistency and compliance with submission standards by the editorial board, then sent to two double-blind reviewers for corrections and possible requests for changes. In the event of acceptance of the article and agreement of the author and the evaluators, the author will be able to re-read, after corrections approved by the editorial board, the first proofs of his article which he will return corrected or will approve in as soon as possible.</p> <p><strong>Theme of the first issue of the journal :</strong></p> <p>The theme of the first issue of the journal is “<strong> The modality in question</strong>” ; off-topic articles, as well as forums, may be considered for publication in this issue or in one of the following issues. A discussion of the different issues that can be addressed as well as additional information are available on the NEMO website, as well as a basic bibliography of the modality, prepared by the editorial board and intended to be enriched by the contribution of readers. <br class='autobr' /> Articles must be sent, for this first issue, before the end of November 2011.<br class='autobr' /> (CERMAA collaborates, within FOREDOFICO, the Lebanese foundation for music and the arts, with CETEP, the Center for Translation, Editing and Publication of the foundation)</p></div> </content:encoded>
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<title>Modality, Brittany, Music</title>
<link>https://www.drom-kba.eu/Modality-Brittany-Music.html</link>
<guid isPermaLink="true">https://www.drom-kba.eu/Modality-Brittany-Music.html</guid>
<dc:date>2011-06-26T19:38:00Z</dc:date>
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<dc:language>en</dc:language>
<dc:creator>Rwan</dc:creator>
<description><p>Erik Marchand discusses modality in world music and in the music of Brittany.</p> - <a href="https://www.drom-kba.eu/-Resources-in-modal-music-.html" rel="directory">Resources in modal music</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH104/arton174-ba068.jpg?1729091052' width='150' height='104' /> <div class='rss_texte'><p>Up until the 1950s, traditional Breton music, which was essentially monodic, had very little contact with classical western harmony. Then, the introduction of equal temperaments in bombards and bagpipes in bagadoù, and subsequently the influence of the folk movement (through Irish music and rock) established the harmonic orchestration as the norm in Breton musical creation. The success brought about by this aesthetic choice should not make us forget the modal origins of this traditional music, which is still practiced today in its local forms such as the kan ha diskan, call and response singing, gwerzioù (lament) and “chant de haute voix” (a cappella), treujenn-gaol (clarinet) players, and instrumental duos (bombard-bagpipes).</p> <p>In his book “La musique du nord de l'Inde” Alain Danielou pointed out a fundamental problem: “Recent attempts, in India and in other Middle-East countries, to write orchestral music that combines elements of counterpoint and polyphony with modal forms derive from poor understanding of what makes modal music such a unique means of expression.” This problem posed by the orchestration of Eastern modal music has also been encountered in Breton musical tradition.</p> <p>We do not deny that harmony brought much creativity in Breton music. We do believe, however, that today it is necessary to rethink ensemble playing, using the founding musical systems of our traditional music.</p> <p>In 1983, Thierry “Titi” Robin and Erik Marchand began to analyze the role of temperament in traditional music*. Their study, which has not yet been published, has revealed the existence of specific scales in the Breton repertoire, characterized by the use of three-quarter tones. The researchers conducted their analysis using their own equipment, as well as the instruments provided by the CNET (Lannion) and the IRCAM (Paris).</p> <p>This is how the researchers summarized their project: “The driving motivation behind our initiative comes from the certainty that the temperaments (the structure of the musical edifice) which are specific to a particular repertoire are themselves an essential part – in the true sense of the term – of the musical message, its expressive power and its specificity. Cataloguing this basic “vocabulary” will inevitably enrich the performance of singers, composers and music teachers. The goal is as follows: to allow for a formal evolution of music interpretation and of the repertoire, an evolution whose driving force and laws would be grounded in its own cultural roots.</p> <p>As a practical point, this research gave birth to two creative albums, which received the support of Dastum, the UPCP and the AMTA, as well as financial assistance from the Regional Council of Brittany and the Ministry of Culture.</p> <p>Erik Marchand and Thierry Robin: “An heñchoù treuz” (Ocora, 1990) and Erik Marchand Trio: “An Tri Breur” (Silex-Auvidis, 1991).</p> <p>In his album KAN (BMG, 2000) Erik Marchand emphasizes the modes common to Breton, Galician and Malian monody and Albanian polyphony, as well as, to a lesser extent, Sardinian polyphony. These vocal expressions use elements of non-equal temperament.</p> <p>The growing interest in world music has made it possible to introduce European audiences to traditional music orchestras composed of numerous participants, singers or instrumentalists, and a diversified instrumentation. Among such performers, we can mention Nusrat Fateh Ali Khan, Alem Kasimov, the Zanzibar Tarab and all nuba orchestras from North Africa, as well as Arab-Andalusian music orchestras, and the late singer Oum Kalthoum.</p> <p>It is our belief that there is today a need to form a large Breton orchestra that could answer the fascinating challenge of reviving the modal tradition of our region. The purpose of such an orchestra would also be to provide young Breton musicians with a musical culture that is often neglected in formal and community-based education.</p> <p>We deem it imperative that the subsequent graduates of Kreizh Breizh Akademi be allowed to become instructors in modality and other particularities of Breton music. Some of these instructors may also be eligible to take over the management of future orchestras.</p> <p>On the other hand, we believe it would be useful to allow students or musicians wishing to work with modal music to have the possibility of studying this particular aspect of Breton music. This will ensure the continuation of this work, and will confirm the academic concept.</p> <p>Text written by Erik Marchand</p></div> </content:encoded>
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