Editorial : La composition musicale et la Méditerranée

Abstract : The Mediterranean not only names a sea but also designates a cultural space which, in turn, differentiates and intertwines. It thus founds a shared common but at the same time establishes a gap and puts in vis-à-vis. As a result, the musical common of the Mediterranean can be understood not simply as common ancestral traces, but also as a process of continual inter-influences and recompositions. In the spirit of such a conception of the Mediterranean, an irreducibly plural space cultivating a dynamic, critical and inventive common, this issue of Filigrane endeavors to present certain works and compositional approaches that are part of it or are inspired by it. In what ways does western so-called “art music” invest the Mediterranean, its current or past music, of oral or written tradition, as well as its various poetic or metaphorical resources? What are the views of composers from the southern shore of the Mediterranean on the musical traditions of their country of origin after absorbing the processes and compositional elements of Western modernity? The texts that make up this issue address these questions in various ways, from which four main themes emerge: the investment of space in musical composition; musical temporalities; the poetic charge of ancient texts and myths; and the integration of traditional material. There are analyzed the music of Maurice Ohana, Luigi Nono, Ahmed Essyad, Enrique Muñoz, Zad Moultaka, Gianvincenzo Cresta, Saed Haddad, etc.
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Anis Fariji, Jean-Paul Olive. Editorial : La composition musicale et la Méditerranée. Filigrane, Musique, Esthétique, Sciences, Société, 24, 2019, La composition musicale et la Méditerranée. ⟨hal-02179618⟩

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