In this article, we tackle one of the problems which arise in the theory of musical intervals of Tunisian tubû’ : How to signify modal notes by semantic signs which translate them theoretically ? For that, we tried to elucidate in this writing the theoretical models of tbâ dhil which knew several of distinct hypotheses to determine the signs of these modal notes.
Author : Rachid Cherif. Any authentic musical discourse tends to reinforce its belonging to its nation or to its ethnic or to its culture. In other words, that discourse cannot be authentic if it ignores its own cultural background especially its tradition.
Author : Ahlem Hamed. This article studies issues related to socio-anthropological dimensions of musical practices in oral tradition. By asking the question about the nature of the relationship between “social” and “musical”, this study tries to reveal the reaction of traditional society.
Author : Mohamed Messaoud Driss. The historical value of “Al-Aghani” book, written by Sadok Errezgui, and its content, encouraged the author (Mohamed Messaoud Driss) to achieve the current translation. Indeed, this book is considered today as the only reference to the music and songs in Tunisia. The author tried to recall the interest of the book “Al-Aghani” by the necessity and legitimacy of its translation.