22 APR 2024 · In the beginning it was plainchant with its different forms, many of which were replaced by the Gregorian chant where the Gallican and Roman traditions merged. It is to all this variety of dialects of the Christian liturgical chant - from Ambrosian to Mozarabic - that Marcel Pérès has dedicated his life as a singer and researcher. With his Ensemble Organum, created in 1982, Pérès has explored the nuances and accents of traditions handed down through the first forms of musical notation but also partly alive in oral transmission, especially in monastic practice.It is to the forms of singing of the oral tradition of the Mediterranean world that the musician, born in Oran (Algeria), turned to seek inspiration for the intonation of the divine word of the different liturgical families of Christianity, interpreting in a personal way the sources of primordial neumatic notations and infuse them with the vital breath of the voice that arises not only from the body movement but also from the movement of the soul.In his vision, the term neuma, the sign of musical writing, is indissoluble from the breath, pneuma, which adorns plainchant, one of the main roots of the history of music in the West and also part of the music of the Near East. About Marcel Pérès After studying organ and composition at the Nice Conservatory, Marcel Pérès continued his training in Great Britain and Canada. Returning to Europe in 1979, he specialized in medieval music. In 1982 he founded the Ensemble Organum, and undertook with them a methodical exploration of medieval liturgical repertoires, which resulted in international acclaim. He recorded about fifty discs - most of which have received the highest awards: the Diapason d'or, Classical Awards, Choc de l'année du Monde de la Musique, and the New York Times’ Essential Records of the 20th Century. https://www.uni-med.net/wp-content/uploads/2024/04/Marcel-Peres.pdf Discography of the episode Spanish Singers, Sanctus Marcel Pérès live recording Ensemble Organum: Antiphona Alleluia. Psalmus 112 Laudate pueri from: Chants de l'Église de Rome Vêpres du jour de Pâques, Harmonia Mundi (1998) Ensemble Organum: Gloria in excelsis Deo from: Chant Mozarabe Cathédrale de Tolède (XVe siècle), Harmonia Mundi (1995) Ahmed Saher: Allaho akbar from: In memoria eterna, Harmonia Mundi (2021) Ensemble Organum: Rachid El Mazzaoui: In memoria eterna - Homo al l’jibalo from: In memoria eterna, Harmonia Mundi (2021) Ensemble Organum: Prosule Tarakto baba arraja from: In memoria eterna, Harmonia Mundi (2021) Ensemble Organum: Deo gratias from: Machaut Messe de Notre Dame, Harmonia Mundi (1996) Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.

22 APR 2024 · In the beginning it was plainchant with its different forms, many of which were replaced by the Gregorian chant where the Gallican and Roman traditions merged. It is to all this variety of dialects of the Christian liturgical chant - from Ambrosian to Mozarabic - that Marcel Pérès has dedicated his life as a singer and researcher. With his Ensemble Organum, created in 1982, Pérès has explored the nuances and accents of traditions handed down through the first forms of musical notation but also partly alive in oral transmission, especially in monastic practice.It is to the forms of singing of the oral tradition of the Mediterranean world that the musician, born in Oran (Algeria), turned to seek inspiration for the intonation of the divine word of the different liturgical families of Christianity, interpreting in a personal way the sources of primordial neumatic notations and infuse them with the vital breath of the voice that arises not only from the body movement but also from the movement of the soul.In his vision, the term neuma, the sign of musical writing, is indissoluble from the breath, pneuma, which adorns plainchant, one of the main roots of the history of music in the West and also part of the music of the Near East. About Marcel Pérès After studying organ and composition at the Nice Conservatory, Marcel Pérès continued his training in Great Britain and Canada. Returning to Europe in 1979, he specialized in medieval music. In 1982 he founded the Ensemble Organum, and undertook with them a methodical exploration of medieval liturgical repertoires, which resulted in international acclaim. He recorded about fifty discs - most of which have received the highest awards: the Diapason d'or, Classical Awards, Choc de l'année du Monde de la Musique, and the New York Times’ Essential Records of the 20th Century.  https://www.uni-med.net/wp-content/uploads/2024/04/Marcel-Peres.pdf Discography of the episode Ensemble Organum: Kyrie from: Machaut Messe de Notre Dame, Harmonia Mundi (1996) Francesco Cera: Messa Della Madonna – Christe from: Girolamo Frescobaldi Toccate – Capricci – Fiori Musicali, Arcana (2019) Ensemble Organum: Office des lectures - III. Gloria in excelsis Deo from: Chant Mozarabe, Harmonia Mundi (1995) Francesco Cera: Messa Della Domenica - Canzon Dopo l'Epistola from: Girolamo Frescobaldi Toccate – Capricci – Fiori Musicali, Arcana (2019) Ensemble Organum: Sanctus from: École Notre-Dame Messe Du Jour De Noël, Harmonia Mundi (1985) Ensemble Organum: Kyrie from: Chant Corse Manuscrits Franciscains (XVIIe-XVIIIe Siècles), Harmonia Mundi (1994) Corsican Singers, Mamma risponde nun posso Marcel Pérès live recording Spanish Singers, Sanctus Marcel Pérès live recording Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.

21 MAR 2024 · La langue musicale du MAQÂM et ses éléments clés is the third episode of https://www.uni-med.net/publications/mediterranean-intangible-heritage-sounscape-unimed-podcast/, and is in French. At the source of the different musical cultures flowing into the Mediterranean world is what Nidaa Abou Mrad calls a modal monodic "language", with its different "dialects". In the Mashreq, the musical system defined by the term maqâm, represents a great transnational tradition of ancient origin and still alive. Between the end of the 19th century and the beginning of the 20th, this tradition was reinvigorated thanks to masters and singers active in Egypt who - on a musical level - contributed to the artistic rebirth and intellectual awakening of the Mashreq, known - from an historical point of view - as Nahda. Through intense concert activity, study and analysis, Abou Mrad - interviewed in this episode - has illustrated in depth the nature of the maqâm musical system, researching its roots in ancient musical civilisations, to underline the importance and value of this heritage.  About Nidaa Abou Mrad Nidaa Abou Mrad, professor of Musicology and musical doctor, is the Dean of the Faculty of Music and Musicology and the Director of the Research Centre on Musical Traditions at the Antonine University in Lebanon. He authored Éléments de sémiotique modale, an essay on generative grammar for monodic traditions, for which he won the CNRS-L Annual Research Excellence Award in 2017. He has published forty articles on the musical traditions of Mashreq and twenty CDs where, with the Ensemble of Arabic Classical Music, he performs on the violin (in an improvisatory way) sequences from the literate musical tradition of Mashreq and some of his own traditional modal compositions. Discography of the episode Taqsim bayyati Nidaa Abou Mrad in Waṣalāt Parcours Instrumentaux de la Renaissance Arabe (2010) Taqsîm en Maqâm Râst Fawzi Sayeb in Fawzi Sayeb in Concert Master of the taqsîm, Byblos (2001)  Chant rūm orthodoxe en arabe de Pâque « Inn al-Malāk » Dimitri Koutiyya  Hymne hourrite Rafka Rizk in 4000 ans de musique au Levant, Ensemble de musique classique arabe de l’Université Antonine (2018) Prélude & chant abbassides Mohammad Ayach in 4000 ans de musique au Levant, Ensemble de musique classique arabe de l’Université Antonine (2018) Mawwāl & Taqtūqa (Musique populaire / Egypte) in Congrès du Caire 1932, Institut du Monde Arabe / Bibliothèque Nationale – France (1988) Yā leyl maqām Nahāwand Cheikh Yūsuf Al-Manyalāwī (78 tours)  Samâ'î Râst Ensemble de Musique Classique Arabe in Waṣalāt parcours instrumentaux de la Renaissance arabe (2010) Muwaššaḥ Wal-laḏī askara Cheikh Sayyid a-ṣ-Ṣafṭī (78 tours) Yā leyl et Dōr Kādnī l-hawā maqām Nahāwand Cheikh Yūsuf Al-Manyalāwī (78 tours)  Mawwāl Bi-kulli marsūm Cheikh Yūsuf Al-Manyalāwī (78 tours) Qaṣīda Ukaḍḍibu nafsī maqām Sīkāh Cheikh Yūsuf Al-Manyalāwī (78 tours)  Dârij Bayyâtî Ensemble de Musique Classique Arabe in Waṣalāt parcours instrumentaux de la Renaissance arabe (2010)     Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.

22 FEB 2024 · This episode will let us travel in the Bosnian musical tradition, and in particular in the city of Sarajevo. Unrequited love is the fuel of the melancholic fire that burns in the heart of the Bosnian urban song of Sarajevo. Longing, desire, jealousy are the main subjects of the lyrics of the sevdah that has its roots in the Ottoman era and more generally in the Near East musical sensibility. Damir Imamović, interviewed in this episode, is a new generation singer and composer with a deep knowledge of the traditions of this heritage that represents the sounding soul of the city. He grew up in a family of musicians and he is the nephew of the prestigious and beloved Zaim Imamović one of the historical protagonist of the sevdah scene of the 20th century. About Damir Imamović Damir Imamović is a musician, a singer and a composer from Sarajevo. He works on Bosnian traditional music and in particular on Bosnian love song, called sevdah. Growing up in a family of sevdah bards, Damir was immersed in the world of Balkan traditional music at a very young age. He started tracing his own path in sevdah in the early 2000s. Damir’s art is deeply rooted in his research and educational work. Apart from his performances, Damir teaches within his own SevdahLab project. More information about Damir Imamović is available here http://en.damirimamovic.com/about. Discography of the episode Intro Damir Imamović in Sevdah Takht Sarajevo Damir Imamović in Dvojka, Glitter Beat Okreni se niz djul bascu (Hamid Dizdar - Isak Samokovlija) Zaim Imamović available on Sevdah Treasure Soundcloud page https://soundcloud.com/semir-vranic/zaim-imamovic-okreni-se-niz-dul-bascu Pokraj Save bagrem drvo raste (traditional) Emina Zečaj and Selim Salihović available on Sevdah Treasure Soundcloud page https://soundcloud.com/semir-vranic/emina-zecaj-pokraj-save-bagrem-drvo-raste https://www.youtube.com/watch?v=pddvtcx0nVk Izidji der Fato (traditional) Zaim Imamović and Alajbegović-Petković available on Sevdah Treasure Soundcloud page https://soundcloud.com/semir-vranic/zaim-imamovic-izidi-der-fato-prvi-snimak https://www.youtube.com/watch?v=asrU2PSHN_0 Ženi majka na silu Omera (Mother forced Omer into getting married) Rasema Katama available on Sevdah Treasure Soundcloud page https://soundcloud.com/semir-vranic/blago-iz-naseg-arhiva-rasema-katana-nezic Novo fado da Severa (Frederico de Freitas) Dina Teresa available on Museu do Fado website https://arquivosonoro.museudofado.pt/interprete/184/dina-teresa Rado, Kćeri Rado (traditional / D. Imamović) Damir Imamović Trio in Abrašević Live Snijeg pade na behar na voce (traditional / arr. Ante Gelo and Boško Jović) Amira Medunjanin and Zagrebački Solisti Live concert in Zagreb https://www.youtube.com/watch?v=UjrGAgLstGg Lijepa Mara (based on Emina Zečaj version) Damir Imamović in Dojka, Glitter Beat Je li rano (traditional / D. Imamović) Damir Imamović in Dojka, Glitter Beat Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.

22 JAN 2024 · This episode will let us travel in the Syrian musical tradition, and in particular in Aleppo's ones. Jonathan Holt Shannon, interviewed for this episode, traces an historical excursus in the traditional music ending up in the contemporary Syrian scenario affected by the war and consequent migrations. When Shannon's book Among the Jasmine Trees: Music and Modernity in Contemporary Syria was published in 2006, Aleppo was still the Syrian musical city par excellence, famous for having been able to preserve its precious traditional musical heritage. In this episode, recorded before the tragic earthquake of 6 February 2023, the anthropologist and ethnomusicologist - who spent a long time in Syria - explains the cultural and musical importance of this city in the context of the Arab world, and talks about his field research and the meetings with musicians before and after the dramatic civil war that forced a large part of Aleppo's population into exile. About Jonathan Holt Shannon Dr. Jonathan H. Shannon is a professor at the Department of Anthropology of Hunter College of New York. He teaches courses in the anthropology of music and the arts, as well as Middle East studies, food, culture and politics. He is a Guggenheim fellow and has authored two influential monographs on Middle Eastern music. His research focuses on musical cultures of the Arab world and Mediterranean with a special focus on Syria, Morocco and Spain. Dr. Shannon's more recent research focuses on the music of Syrian refugees in Turkey, Germany and Sweden. Discography of the episode Qadd Yallah Sawa Al Turath Ensemble da Jardines de Jazmín, Pneuma PN 310 (2001) (Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA) Samai hozam (traditional) Al Turath Ensemble from Jardines de Jazmín, Pneuma PN 310 (2001) (Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA) Habibi ala al’Dunya Sabah Fakhri from Sabah Fakhri Au palais des congrès, Polydor 2672 055 / Alep Disques 2672 055 (1978) https://www.youtube.com/watch?v=oxJ4dolAttg Ana fi intizarak (Zakarya Ahmad – Bayram Tunsi) Umm Kulthum https://www.youtube.com/watch?v=yYZG-ihqnDc Taqsim for ‘ud recorded by Jonathan Shannon (2021) Dulab Hozam (traditional) Al Turath Ensemble from Jardines de Jazmín, Pneuma PN 310 (2001) (Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA) Layali (unmetered modal improvisation) Mohammed Hamadye recorded by Jonathan Shannon in Istanbul, January 2019 Yamorro Oujban (Omar al-Batsch – arranged by Göksel Baktagir) From Aleppo To Istanbul Project (live recording 2019) https://www.youtube.com/watch?v=8wuoPKDqdW8 Samai hozam (traditional) Al Turath Ensemble from Jardines de Jazmín, Pneuma PN 310 (2001) (Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA) Golden Flowers by Ajam quartet Composer Or Rozenfeld. Ajam quartet are an active band from Berlin Website: https://www.ajamquartet.com/ Mshaweerak Bilfada (Nour Yamm) https://www.youtube.com/watch?v=xiEPRv5Cq8M http://bit.ly/40FpK7b http://bit.ly/391pVQI http://bit.ly/2saIPno http://bit.ly/2tzaTBi Dhikr recorded by Jonathan Shannon at Othmaniyya Mosque in Alep (2006) Zakhrafa (Samer Ali) Takht al-Nagham (live recording 2019) https://www.youtube.com/watch?v=n6VjsvT6o3s More information https://syrianmusic.org/ Between the Strings (Diab Mekari - Arif Altunkaya) Diab Mekari https://www.youtube.com/watch?v=ygwQIBpzvZY ℗ Planet East (Royalty free - Music For Your Videos) Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.