The fourteen analysed instrumental pieces are taken from the Tunisian repertoire of traditional ṭubu’ – mainly improvisations of Muḥammad Ghānim on rabāb and °Khmayyis° Tarnān onʿūd °ʿarbī° – recorded at the 1932 Congrès du Caire. We show that the tools developed in the last few years allow for a thorough analysis of this repertoire and, mostly, that even the most “simple” performances by renowned musicians have much to tell about the music that they tried to represent at this occasion.
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.