Ma'luf: Difference between revisions
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"When the [[Ottoman Empire]] crumbled, [[France]] established a "[[protectorate]]" in [[Tunisia]] based on her claim at the 1878 [[Congress of Berlin]], and the maluf, then in decline, underwent a dramatic transformation. In an effort to save it from extinction, the French-naturalized Baron [[Rodolfe d'Erlanger]], an amateur musician of Bavarian birth who had settled near [[Tunis]], commissioned [[Ali al-Darwish]] of [[Aleppo]] to produce the first collection of this ancient repertory in written musical notation, a 20-year project. Together, d'Erlanger and Darwish undertook one of the first academic studies of Arab music theory and assembled Tunisia's presentation at the groundbreaking 1932 [[International Congress of Arabic Music]], hosted in [[Cairo]] by [[King Fuad I]]. Hungarian composer [[Béla Bartók]], one of the many renowned participants, supervised the [[Gramophone]] company in recording 360 performances by the musician delegations; most of the recordings have survived in the [[National Sound Archives]] of Paris, and some are available to the public on compact disk."<ref>Anderson, Thorne. 2001. [http://www.saudiaramcoworld.com/issue/200104/the.musical.pulse.of.tunisia.htm "The Musical Pulse of Tunisia."] Saudi Aramco World. July-August 2001. Volume 52 (4). Page 29.</ref> |
"When the [[Ottoman Empire]] crumbled, [[France]] established a "[[protectorate]]" in [[Tunisia]] based on her claim at the 1878 [[Congress of Berlin]], and the maluf, then in decline, underwent a dramatic transformation. In an effort to save it from extinction, the French-naturalized Baron [[Rodolfe d'Erlanger]], an amateur musician of Bavarian birth who had settled near [[Tunis]], commissioned [[Ali al-Darwish]] of [[Aleppo]] to produce the first collection of this ancient repertory in written musical notation, a 20-year project. Together, d'Erlanger and Darwish undertook one of the first academic studies of Arab music theory and assembled Tunisia's presentation at the groundbreaking 1932 [[International Congress of Arabic Music]], hosted in [[Cairo]] by [[King Fuad I]]. Hungarian composer [[Béla Bartók]], one of the many renowned participants, supervised the [[Deutsche Grammophon|Gramophone]] company in recording 360 performances by the musician delegations; most of the recordings have survived in the [[National Sound Archives]] of Paris, and some are available to the public on compact disk."<ref>Anderson, Thorne. 2001. [http://www.saudiaramcoworld.com/issue/200104/the.musical.pulse.of.tunisia.htm "The Musical Pulse of Tunisia."] Saudi Aramco World. July-August 2001. Volume 52 (4). Page 29.</ref> |
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==References== |
==References== |
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Revision as of 14:38, 9 August 2013
The maluf (Arabic: مالوف Ma'lūf) (French: Malouf) is a genre of art music in the Andalusian classical music tradition of Algeria, Libya and Tunisia.[1] It was revived in the 1920s by the French musicologist Baron Rodolphe d'Erlanger.[1] A detailed description of Malouf in Tunisia can be found under "Music of Tunisia".
"Maluf (pronounced mah-LOOF) survives today in public and private performances and at weddings and circumcision ceremonies because of a determined effort of preservation on the part of the Tunisian government, private patrons and dedicated musicians young and old. Although but a small part of a much larger, evolving contemporary musical-arts scene— indeed, it can be difficult to find maluf recordings except in specialized music shops— the history of the maluf is so enmeshed with that of Tunisia that maluf has become a sort of emblem of national identity, and its influence is ever-present and fiercely guarded."[2]
"When the Ottoman Empire crumbled, France established a "protectorate" in Tunisia based on her claim at the 1878 Congress of Berlin, and the maluf, then in decline, underwent a dramatic transformation. In an effort to save it from extinction, the French-naturalized Baron Rodolfe d'Erlanger, an amateur musician of Bavarian birth who had settled near Tunis, commissioned Ali al-Darwish of Aleppo to produce the first collection of this ancient repertory in written musical notation, a 20-year project. Together, d'Erlanger and Darwish undertook one of the first academic studies of Arab music theory and assembled Tunisia's presentation at the groundbreaking 1932 International Congress of Arabic Music, hosted in Cairo by King Fuad I. Hungarian composer Béla Bartók, one of the many renowned participants, supervised the Gramophone company in recording 360 performances by the musician delegations; most of the recordings have survived in the National Sound Archives of Paris, and some are available to the public on compact disk."[3]
References
- ^ Encyclopedia Americana Scholastic Library Publishing - 2006 "The most renowned Tunisian art form is the maluf, a song of Spanish origin introduced by Andalusian refugees"
- ^ Anderson, Thorne. 2001. "The Musical Pulse of Tunisia." Saudi Aramco World. July-August 2001. Volume 52 (4). Page 26.
- ^ Anderson, Thorne. 2001. "The Musical Pulse of Tunisia." Saudi Aramco World. July-August 2001. Volume 52 (4). Page 29.
- Davis, Ruth (1996). "The Art/Popular Music Paradigm and the Tunisian Ma'lūf." Popular Music, v. 15, no. 3, Middle East Issue (October 1996), pp. 313-323.
- Davis, Ruth (1997). "Traditional Arab Music Ensembles in Tunis: Modernizing Al-Turath in the Shadow of Egypt." Asian Music, v. 28, no. 2 (Spring/Summer 1997), pp. 73-108.
- Davis, Ruth (1997). "Cultural Policy and the Tunisian Ma'lūf: Redefining a Tradition." Ethnomusicology, v. 41, no. 1 (Winter 1997), pp. 1-21.
- Davis, Ruth F. (2005). Ma'luf: Reflections on the Arab Andalusian Music of Tunisia. ISBN 0-8108-5138-5. ISBN 978-0-8108-5138-2.
External links
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