[ Quelle échelle théorique musicale référentielle des modes tunisiens ? Tbâ dhil exemple ]
Volume 32, Issue 1, February 2021, Pages 70–82
Khaled Jmel1
1 Maitre-Assistant, Institut Supérieur de musique de Sfax, Tunisia
Original language: French
Copyright © 2021 ISSR Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
The Tunisian musical system is not yet well defined rigorously in terms of its musical scale compared to other modal systems, such as the Turkish and Persian system and now included in the Arab musical system. Given that these last two have known studies which attempt to find theoretical formulas which almost translate the magnitudes of the intervals by semantic signs which correspond to their melodic specificities. Our following study is considered a musicometric specimen to elicit researchers to reveal the nature of Tunisian tbûs (modes). We first approached the theoretical Arab models which refuted the quarter-tone system reported by the modes and rhythms committee of the Arab Music Congress in Cairo in 1932. We have proved, moreover, that through two analyzed examples of the tbâ (mode) dhil, there is no similarity in the quantities of the melodic intervals, in particular the modal notes (sikah « mi half flat», awj « si2 half flat », araq « si1 half flat ») that we were satisfied with in our objective, which evokes the dispute over the referential musical scale of this tbâ and its scalar system.We have mentioned that the musical scale depends on the musician and his interpretation, these cultural tendencies or his usual auditory memory which has influenced his tastes and the musical culture which belongs to him, as well as by the impact of certain factors interpretation. We are ultimately looking to find a very rigorous theoretical model for this tbâ and for the other Tunisian tûbû by introducing artificial intelligence and expanding the number of recordings analyzed which can give us satisfactory results.
Author Keywords: tbâ dhil, theoretical model, musical system, modal note, sikah, mi half flat, awj, si2 half flat, araq, si1 half flat, matlab, melodic interval, homonyms mode, tunisian, arab.
Volume 32, Issue 1, February 2021, Pages 70–82
Khaled Jmel1
1 Maitre-Assistant, Institut Supérieur de musique de Sfax, Tunisia
Original language: French
Copyright © 2021 ISSR Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Abstract
The Tunisian musical system is not yet well defined rigorously in terms of its musical scale compared to other modal systems, such as the Turkish and Persian system and now included in the Arab musical system. Given that these last two have known studies which attempt to find theoretical formulas which almost translate the magnitudes of the intervals by semantic signs which correspond to their melodic specificities. Our following study is considered a musicometric specimen to elicit researchers to reveal the nature of Tunisian tbûs (modes). We first approached the theoretical Arab models which refuted the quarter-tone system reported by the modes and rhythms committee of the Arab Music Congress in Cairo in 1932. We have proved, moreover, that through two analyzed examples of the tbâ (mode) dhil, there is no similarity in the quantities of the melodic intervals, in particular the modal notes (sikah « mi half flat», awj « si2 half flat », araq « si1 half flat ») that we were satisfied with in our objective, which evokes the dispute over the referential musical scale of this tbâ and its scalar system.We have mentioned that the musical scale depends on the musician and his interpretation, these cultural tendencies or his usual auditory memory which has influenced his tastes and the musical culture which belongs to him, as well as by the impact of certain factors interpretation. We are ultimately looking to find a very rigorous theoretical model for this tbâ and for the other Tunisian tûbû by introducing artificial intelligence and expanding the number of recordings analyzed which can give us satisfactory results.
Author Keywords: tbâ dhil, theoretical model, musical system, modal note, sikah, mi half flat, awj, si2 half flat, araq, si1 half flat, matlab, melodic interval, homonyms mode, tunisian, arab.
Abstract: (french)
Le système musical tunisien n’est pas encore bien défini rigoureusement au niveau de son échelle musicale par rapport d’autres systèmes modaux, comme le système turc et persan et désormais inclus dans le système musical arabe. Etant donné que ces deux derniers ont connu des études qui tentent à trouver des formules théoriques qui traduisent quasiment les grandeurs des intervalles par des signes sémantiques qui correspondent à leurs spécificités mélodiques. Notre étude suivante est considérée comme un spécimen musicométrique pour susciter les chercheurs à révéler la nature des tûbû (modes) tunisiens. Nous avons abordé au préalable les modélisations théoriques arabes qui ont réfuté le système de quart de ton rapporté par le comité des modes et rythmes du congrès de la musique arabe au Caire en 1932. Nous avons prouvé d’ailleurs qu’à travers deux exemples analysés du tbâ (mode) dhil, il n’y a pas de similarité au niveau de grandeurs des intervalles mélodiques notamment des notes modales (sikah « mi demi bémol », awj « si2 demi bémol », araq « si1 demi bémol ») que nous nous sommes contentés dans notre objectif, ce qui évoque la querelle de l’échelle musicale référentielle de ce tbâ et son système scalaire.Nous avons évoqué que l’échelle musicale dépend de musicien et de son interprétation, ces tendances culturelles ou bien sa mémoire auditive habituelle qui lui a influencé ses gouts et la culture musicale qui l’appartient, ainsi que par l’impact de certains facteurs d’interprétation. Nous cherchons finalement de trouver un modèle théorique bien rigoureux pour ce tbâ et pour les autres tûbû tunisiens en introduire l’intelligence artificielle et élargir le nombre des enregistrements analysés qui pourront nous donner des résultats satisfaisants.
Author Keywords: tbâ dhil, modélisation théorique, système musical, note modale, sikah, mi demi bémol, awj, si2 demi bémol, araq, si1 demi bémol, matlab, intervalle mélodiqus, mode homonyme, arabe, tunisien.
How to Cite this Article
Khaled Jmel, “What referential musical theoretical scale of tunisian mode ? Tbâ dhil for exemple,” International Journal of Innovation and Applied Studies, vol. 32, no. 1, pp. 70–82, February 2021.
