Mediterranean Intangible Heritage Soundscape

Kudsi Erguner has devoted his life to promoting the rich heritage of Ottoman musical history on the international stage, a legacy also shaped by the contributions of Turkish, European, and Arab musicians. At the heart of his musical formation stands the ney, the reed flute elevated by the great mystical poet Mevlana (Jalal al-Din Rumi) to a spiritual symbol representing the inner voice of the soul.That formation was nurtured within a family of musicians and through his ensemble’s concerts and recordings it has helped explore the richness of a musical culture that holds a universal heritage.In describing the environment he grew up in, he also illustrates the main elements that compose the formal structure of the fasıl, the suite where vocal and instrumental pieces unfold in alternation. Central to the fasıl are the melodic progressions of the taksim, an improvised form used to explore the characteristics of the various modal scales, makamlar, that underpin the musical system of Ottoman artistic culture. About Kudsi ErgunerKudsi Erguner came from a family of musicians. His father Ulvi and grandfather Suleyman Erguner are among the most famous ney players. Suleyman Erguner Dede was a pupil of Emin Dede (1883–1945), himself a pupil of Aziz Dede (1840–1905) and Hüseyin Fahreddin Dede (1854–1911). Kudsi Erguner thus had the opportunity to rub shoulders with the musical greats from the older generation and used his time with them to immerse himself in an authentic style reflecting centuries of musical tradition that he keeps alive today. Read moreEpisode's musical sources listHicaz Taksim – on ney by Kudsi Erguner Segâh Taksim – on ney by Süleyman Erguner (grandfather of Kudsi Erguner)Rûy-i Irâk Âyin – composed by Ahmed Avni KonukUşşak Taksim – on ney by Ulvi Erguner (father of Kudsi Erguner)Rast Kâr – composé par Abdülkadir Meragi interpreted by (ensemble Ulvi Erguner) Nevâ Kâr – composed by Buhurizade Mustafa Itrı, interpreted by (ensemble Kudsi Erguner) Arrangements by Kudsi ErgunerFerahfezâ Taksim – au ney composed and interpreted by Kudsi Erguner Beyati Araban Peşrev – composed by Ulvi Erguner interpreted by Erguner brothersBuselik Peşrev – composed by Dimitrie Cantemir (interpreted by ensemble Kudsi Erguner) Arrangements by Kudsi ErgunerNishaburek Yürük Semai – Greek version by Yorgos Protopsaltis interpreted by (ensemble Kudsi Erguner) Arrangements by Kudsi Erguner Saba Şarkı – composed by Suphi Ziya Ozkan & interpreted by Nesrin Sipahi and (ensemble Kudsi Erguner)Saba Nihavend Taksim – composed and interpreted by Kudsi Erguner au ney Hümayun Peşrev – composed byVeli Dede interpreted by (ensemble Kudsi Erguner)Hicaz Şarkı – composed by Sadettin Kaynak & interpreted by Müzeyyen Senar & (ensemble Kudsi Erguner) Arrangements by Kudsi Erguner Şedaraban Saz Semaisi – composed by Tanburi Cemil Bey interpreted by ensemble Kudsi Erguner)Suznak Saz Semaisi – composed by Tatyos Efendi (interpreted by ensemble Kudsi Erguner) DisclaimerMediterranean 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.Please notice that opening and closing voice over is generated with AI tools.

In this episode we will travel right into the heart of Turkey with Jérôme Cler, lecturer in ethnomusicology at Paris-Sorbonne University. Despite the variety of his cultural experiences, Cler’s interest has remained constantly focused on Asia Minor, first through his studies dedicated to the civilisation and language of ancient Greece and later through his field research on the oral music traditions of the Anatolian highlands.After learning to play the saz thanks to the teachings of Talip Özkan, one of the most important virtuosos of the instrument, and having made numerous trips to Anatolian villages, frequenting rural communities and participating in their social and religious rituals, Cler wrote the ethnographic account Ritournelles de l'arrière-pays. Musique et ethnographie en Turquie rurale published in 2025 by Éditions Mimésis and which is the result of thirty years of research in the south-west of the country.About Jérôme Cler After studying literature and specialising in medieval Greek, Jérôme Cler began learning to play the long-necked saz lute under the tutelage of master Talip Özkan, which led him to branch out into ethnomusicology, a subject he taught for 25 years at Sorbonne University. He has always favoured slow immersion in the ‘field’, which he frequented for three decades (1991-2025). His field of research is rural Turkey, in a peasant environment of nomadic ancestry, but he has also worked in Bulgaria (2008) and Colombia (2009-2011).Episode's musical sources listRitournelle, recording of Jérôme Cler: village de Tasavlu, avec Hayri Dev, Hasan Yıldırım, Zafer Dev.Kurdes Irak Unesco extrait, CD Unesco : Kurdish music, Auvidis D 8023 (1974/1989), «Naghma Jabali We Binafshé»Talip Ozkan / taksim dersi bozlak, « leçon de Taksim ». Field recording of Jérôme Cler 1992 https://youtu.be/25_ihcKZxAo?feature=sharedTalip Ozkan / taksim dersi bozlak, une chanson de la région de Denizli. Recording of Jérôme Cler 1992 https://youtu.be/25_ihcKZxAo?feature=sharedHayri HasanGizli Düdük, recording of Jérôme Cler. Le gizli düdük « sifflet secret » "Turquie - Voyages D'Alain Gheerbrant En Anatolie (1956-1957) Ocora-radio-france 1985 « nefes : un haut pilier au centre de l’univers » extraitBiz bektaşi gulleriyiz (We are the bektaşi roses) recording of Jérôme Cler in Tekke 2011 cf. CD Turquie : cérémonie de djem bektashi, la tradition d’Abdal Musa, OCORA-Radio-France 2012Babalar semahi début plus babalar transition. Jérôme Cler, recording November 1997 : début du semai des baba plus transition vers la modulation de la 2è partie du semahSemah, Alevi-Bektaşi ritual https://youtu.be/e2zsCoNnfg8?feature=sharedAl beni - Zafer, recording of Jérôme Cler 1995 Zafer Dev, fils de Hayri Dev, chante accompagné par Hauri et HasanDisclaimerMediterranean 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.Please notice that opening and closing voice over is generated with AI tools.

Fado, the urban song of Lisbon, was inscribed in 2011 on the Representative List of the Intangible Cultural Heritage of Humanity. Fado’s history partially mirrors that of 20th-century Portugal.  Its ill-famed origins linked to the alleys and taverns of the Alfama and Mouraria neighborhoods, contributed to creating a sort of mythology that fueled his poetics, and the best definitions of this musical genre are found in the verses of his songbook in which the word saudade, difficult to translate, continually echoes.It is something akin to nostalgia and melancholy, but it also expresses a restlessness, a longing, a regret and more, which cannot be precisely defined outside the Portuguese cultural context.But from the point of view of a fado singer, this risks appearing like an overused stereotype, and Rodrigo Costa Félix, who talks about his musical education and his way of feeling and interpreting fado, prefers to underline the poetic quality of the verses of the songs, often citing the charismatic figure of Amalia Rodrigues as an essential point of reference for his generation.About Rodrigo Costa FélixRodrigo Costa Félix is one of the Fado references of his generation. He started singing Fado at the age of 17.He made his professional debut when he was eighteen, at the São Caetano Restaurant (formerly Pátio das Cantigas) in Lapa - in Lisbon. There he hung out with great musicians and singers and really began to realise the importance of these places in any artist's apprenticeship.He started participating in major Fado events throughout the country, mainly with one of the biggest names ever, João Braga.His international career began in 1997 and he has been travelling around the world ever since.He participated in the first record of the so-called new generation of Fado, the CD “Alma Nova” in 1994, but his first solo CD, “Fados D’Alma”, was recorded only in 2008. Read moreEpisode's musical sources listRodrigo Costa Félix / O pai de todos os fados / Popular - Tiago Torres da SilvaRodrigo Costa Félix / Fado das mágoas / João Ferreira-Rosa – Pedro LafõesAmalia Rodrigues / Fado portugues / Amalia Rodrigues - José Regiohttps://youtu.be/1YriVM8sC7M?si=NQKqkRjA_smiZBoaTrovante / Travessa do poço dos negros / Luis Represas – João Gil Pedro Caldeira Cabral / Fantasie Tinha o nome de saudadeAmália Rodrigues / Povo que lavas no rio / Pedro Homem de Mello – Joaquim Camposhttps://youtu.be/CHn5eetWpFQ?si=hGNmVrw8-HyTXCCLAmália Rodrigues ao vivo em Milanohttps://youtu.be/UYD6hQQe6Go?si=MNr_f4UTgKWQ7d1bAmália Rodrigues / Grandola vila Morena / Zeca Afonsohttps://youtu.be/umbEOUYaxa4?si=tuxMWqund3C830OKMiguel Carvalho on his book about Amaliahttps://youtu.be/d8S8hSQvgds?si=BsRJ_ZkzV_3fnAuQRodrigo Costa Félix / Amália / José Galhardo - Frederico ValérioMariza / Lagrima / Amália Rodrigues – Carlos Gonçalveshttps://youtu.be/5RK1qGWl6r0?si=pnSGpJ5GfxQaxWyRMoment of Announcement of Fado as Intangible Heritage of Humanityhttps://vimeo.com/groups/785262/videos/54319143Rodrigo Costa Félix / Tinha o nome de saudade / João de Freitas – João Maria dosAnjosRodrigo Costa Félix / Amigo aprendiz / Pd. Zezinho scj. – Tiago BettencourtDisclaimerMediterranean 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.Please notice that opening and closing voice over is generated with AI tools.

As the title of Adnan Haydar’s new book announces, New Words to Old Tunes, in this episode we are brought into the fascinating world of recited and sung verbal duels, rooted in Lebanon’s oral poetry tradition.Zajal is a creative game filled with rhetoric, metaphors, mockery, and clever wordplay, touching on both frivolous and serious themes—daily life, emotions, history, politics, famous figures, and, more broadly, opposing ideas that generate a poetic joust between two or more poets. These poets improvise their verses while adhering to different Arabic metrical forms. The living zajal tradition was inscribed in 2014 on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity and continues to flourish in convivial gatherings that draw large audiences. In a traditional public zajal encounter, the poets divide into two teams of two or four, with a small choir behind them, singing the last couplet of each poet’s verse as a refrain.As a profound connoisseur of this tradition, Prof. Adnan Haydar offers a detailed account of the structure and characteristics of the main meters that define and shape Lebanon’s oral poetry tradition within a broader Mediterranean context. About Adnan HaydarAdnan Haydar is head of the Arabic section in the department of world languages, literatures, and cultures and professor of Arabic and comparative literature at the University of Arkansas, where he also directed the King Fahd Middle East Studies Program from 1993 to 1999. Dr. Haydar has taught at the University of California, the University of Pennsylvania, Middlebury College, and the University of Massachusetts. His fields of specialization and areas of teaching include modern and classical Arabic literature, Arabic language, folk literature, oral poetry, and European and Arabic poetics.  He has directed SINARC,  BAALI, and SCALE, three summer institutes in Lebanon for intensive Arabic language and culture from 1997-2010.He has authored, co-authored and co-edited eight books, including Naguib Mahfouz: From Regional Fame to Global Recognition, and published numerous translations and interpretations of poetry and fiction, including Adonis’ Mihyar of Damascus, His Songs, Khalil Hawi’s Naked in Exile, and Jabra Ibrahim Jabra’s celebrated novels The Ship and In Search of Walid Masoud. He has edited numerous modern Arabic novels in translation for Syracuse University Press. His many articles on modern literary theory and oral poetry have appeared in premier literary journals in the U.S. and in the Middle East. His translation (with Michael Beard) of Adonis’ Mihyar of Damascus, His Songs, published by BOA Editions, has recently been awarded the Modern Language Association’s prestigious Lois Roth Award for the Translation of a Literary Work. Episode's musical sources listZein Sheib, Zajal 1968 Lebanese Tradition Freestyle Battles, 1968https://www.facebook.com/reel/922711795564597  Jiryis al-Bustani (sung by Adnan Haydar), BoastingEdward Harb clip 2, Zajal 1968 Lebanese Tradition Freestyle Battles, 1968https://www.facebook.com/reel/922711795564597Reddadeh (chorus), Zajal 1968 Lebanese Tradition Freestyle Battles, 1968https://www.facebook.com/reel/922711795564597Zaghloul al-Damour (sung also by Adnan Haydar), Opening ode, Beit Mery, Lebanon, 1972Zaghloul al-Damour, Opening ode, Beit Mery, Lebanon, 1972  Unknown, (sung by Adnan Haydar), Qarradi with English and French Words Another clip from Zajal 1968 Lebanese Tradition Freestyle Battles, 1968https://www.facebook.com/reel/922711795564597Maʿannā sung by Mansour Ajamihttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/1-ma-anna-1.mp3Maʿannā 2 sung by Mansour Ajamihttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/2-ma-anna-2.mp3Qarradi 1 sung by Mansour Ajamihttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/3-qarradi-1.mp3Qarradi 2 sung by Mansour Ajamihttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/4-qarradi-2.mp3Qarradi 3 sung by Mansour Ajamihttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/5-qarradi-3.mp3Aframiyyahttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/6-aframiyyat-ya-salihan.mp3Layya w layya sung by Mansour Ajamihttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/7-Layya-w-layya.mp3 Alyadihttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/8-al-yadi-source.mp3Ya ghzayyelhttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/9-ya-ghzayyil.mp3Mijanahttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/13-mijana-refrain.mp3Atabahttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/14-ataba.mp3Hidahttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/18-al-hida.mp3Nadbhttps://cdn.openbookpublishers.com/resources/10.11647/obp.0424/20-nadb-iii-ghaybitak.mp3QasidZaghloul’s opening ode repeatedMkhammas MardudFayrouz, Wadi al-Safi, Nasri Shamseddine, Baalbek, 1973https://cdn.openbookpublishers.com/resources/10.11647/obp.0424/28-mkhammas-mardoud-fayrouz-and-nasri-shamseddine.mp3 DisclaimerMediterranean 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.Please notice that opening and closing voice over is generated with AI tools.

The convivial meetings perfectly encapsulate the social dimension of the Cretan traditional music. Within these gatherings, the sound heritage of the Greek island is nurtured and passed on, as explored with Ioannis Papadatos in the previous episode “The social role of parea in the musical tradition of Crete”.As a natural continuation, this episode presents the testimonies of four distinguished Cretan musicians, corroborating the fundamental role of that sense of unity and belonging where different musical forms flow in harmony with the rhythms of traditional dances such as syrtos, pentozali, sousta, kastrinós. In these convivial spaces, aspiring musicians refine their techniques and stylistic approaches across different repertoires, guided by the wisdom of seasoned mentors. This exchange allows them to develop and perfect their expressive and musical abilities.  The enthusiasm of the meraklides, devoted connoisseurs who delight in life’s pleasures, from music to gastronomy, blends seamlessly into the convivial spirit of the parees. Within this vibrant setting, you can hear musicians playing verses from the early 17th century chivalric poem Erōtókritos or improvising mantinades. In this episode, the four musicians, Zacharias Spyridakis, Dimitris Sideris, Georgios Zacharioudakis and Yannis Papatzanis, paint a vivid portrait of the diversity of their learning and experiences of the Cretan musical heritage, and unanimously acknowledging its fundamental values. About the musiciansZacharias Spyridakis, Dimitris Sideris, Georgios Zacharioudakis and Yannis Papatzanis compose the Cretan Music Ensemble. More information is available here   Episode's musical sources list“Erotokritos Eastern Crete melody” (in the way of “kontilies”)sang by Dimitris Sideris“Chalepianos manes” “skopos” (table melody)sang by Zacharias Spyridakis“Erotokritos Eastern Crete melody” (in the way of “kontilies”)sang by Dimitris SiderisLearning my rst “sirtos” named “Ti mana mou tin agapo “Erotokritos Main melody”sang by Dimitris Sideris“Erotokritos Main melody”sang by Dimitris Sideris“Erotokritos Eastern Crete melody” (short)“Protos sirtos” example melody to explain the technical way to perform LuteSound example of “Madoura instrument” “Pidichtos dance”explaing the way performing “Madoura” with ornaments“Kathe chimona ta poulia” “sirtos”sang by Yannis Papatzanis, Double “Madoura” or “Askomadoura” (Cretan backpipe)“sirtos melody”“Thiampoli insrument” (Cretan flute)“Egiran ta klonaria mou”“skopos” (table melody) sang by Yannis Papatzanis“Ethianos Pidichtos”dance with “Toubaki instrument”“Sousta dance”sang by Yannis Papatzanis“Rizitiko” “Kori ke nios”(table or walking melody)“Protos sirtos”DisclaimerMediterranean 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.Please notice that opening and closing voice over is generated with AI tools.This episode includes AI-generated content.

Ioannis Papadatos has been a long‐term participant‐observer during a fieldwork in the island of Crete to prepare his dissertation about the local performances of Cretan traditional music for the University of Kent’s degree of Doctor of Philosophy. He participated and enjoyed the convivial atmosphere of social gatherings called parees in which music plays a pivotal role, mostly in Heraklion where he resided in 2012 and 2013.These meetings are very inclusive, because at the same time are a social space where sharing the passion for music and singing or playing independently from the technical level and the knowledge of the repertoire, and where learning the unspoken rules that govern the musical sequences of the performances while improving one’s own ability. The key concept of meraklís (enthusiast, fan, aficionado, devotee, lover, buff) reveals this inclusive and participatory kind of gatherings where people socialize through music, and the parees open performances keep alive the original musical traditions of this big Greek Mediterranean island.About Ioannis PapadatosIoannis Papadatos is an ethnomusicologist in the field of Greek studies and the Cretan musical tradition. He lives in Athens and has conducted a long-term ethnographical fieldwork in the island of Crete as part of his doctorate research at the University of Kent. Episode's musical sources listΈla san éheis órexi (Come if you like, known as: Na mpóries me ta máthia mou If you could see through my eyes)Ioannis Papadatos field recording 2012Έla san éheis órexi (Come if you like, known as: Na mpóries me ta máthia mou If you could see through my eyes)Ioannis Papadatos field recording 2012Agrimia ki agrimakia mou (My beasts and little beasts)Arranged by Yannis Markopoulos, singer Nikos Xilouris https://www.youtube.com/watch?v=OG6WZoVfGaoHtikiaris (Sickly person)Karolos Kouklakis and Irini Derebei - Ioannis Papadatos field recording 2011Ta vasana mou (I rejoice in my sorrows)Ioannis Papadatos field recording in Roustika 2013PentozalisIoannis Papadatos field recording in Roustika 2013Ki an mou 'heis kapsei tin kardia (Even if you’ve burnt my heart)Ioannis Papadatos field recording 2012Staras – apo to 1968 Lefkogiani parea – kalamatiana, (parea at Lefkogia of Rethymnon prefecture) Nikos Petrakis (https://www.youtube.com/watch?v=-0EDlimpNwk)Courtesy of the Staras Family to Ioannis PapadatosΌla gia séna ta ’pexa (I risked everything for you)Ioannis Papadatos field recording 2012KsirosterianosIoannis Papadatos field recording in Roustika 2013Έla san éheis órexi (Come if you like, known as: Na mpóries me ta máthia mou If you could see through my eyes)Ioannis Papadatos field recording 2012Mmono ekeinos p'agapa (Only the one who loves)Ioannis Papadatos field recording in Roustika 2012KastrinosIoannis Papadatos field recording in Roustika 2013Pote tha kanei xasteria (When will the skies clear again)Nikos Xilouris https://www.youtube.com/watch?v=nzSjGLAVQpYand Polytechnic students’ street protest of November 1973 where they sang Pote tha kanei xasteria https://www.youtube.com/watch?reload=9&app=desktop&v=8Qa9DisclaimerMediterranean 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.Please notice that opening and closing voice over is generated with AI tools.This episode includes AI-generated content.

The multipart singing of the rural Southern region of Portugal, called cante alentejano, is proudly performed by amateur choral groups that intone two short simple poems, first the cantiga and then the moda, standing side by side and slightly undulating.Their chanting is a means to reinvigorate the sense of belonging to their land and a way to bound social ties among communities of Alentejo. Salwa El-Shawan Castelo-Branco has a deep ethnomusicological knowledge of the different musical traditions of Portugal, and contributed with the anthropologist  Paulo Lima to create the conditions of the inclusion in 2014 of this form of singing in the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.Here she explains what cante alentejano is and what it represents in the frame of cultural and social life of Portugal.About Salwa El-Shawan Castelo-Branco Salwa El-Shawan Castelo-Branco is Professor Emerita of the Faculty of Social Sciences and Humanities, NOVA University of Lisbon (FCSH-UNL) and president Emerita of the Instituto de Etnomusicologia-Centro de Estudos em Música e Dança (INET-md), a research unit that she founded in 1995 and directed up to 2020.She was elected President of the International Council for Traditional Music (2013 - 2021). She earned a Ph.D. in Ethnomusicology in 1980 at Columbia University. Her academic career was launched at New York University where she was a tenure-track Assistant Professor from 1979 to 1981, founded and directed an MA program in urban ethnomusicology.She was Associate Professor at the newly founded Musicology Department at NOVA-FCSH, completed her habilitation in 1986 and won a full professorship in 1988, the first in musicology in Portugal. She chaired the Musicology Department during its foundational and consolidation phases (1983-1988; 1995-1997).She was visiting professor at Columbia University, Princeton University; Tinker Professor at Chicago University, Overseas Visiting Scholar at St. John's College, Cambridge University and Gulbenkian Visiting Professor at the University of California, Berkeley. She carried out field research in Portugal, Egypt and Oman resulting in publications on: cultural politics, musical nationalism, music heritage, music media, music and conflict, and institutional and disciplinary histories. More information and the list of publications are available here.Episode's musical sources listO Alentejo em LisboaModas e Cantigas do Alentejo. Grupo Coral Alentejano. Amadora AURPIF. Ideal voice CD s.d.Bairro Alentejano Grupo Coral 1° de Maio do Bairro Alentejano: O Ninho. Sociedede Recreativa e Cultural do Povo, Bairro Alentejano, CD 2007Hino do MineiroAljustrel Tradiçao Musical. Grupo Coral do Sindicato Mineiro de Aljustrel, CNM, CD 2002 Os Ganhões de Castro VerdeAlentejo, Alentejo Grupo Coral e Etnográfico Os Camponeses de Piashttps://www.youtube.com/watch?v=rfWykIA1MQ0 http://www.youtube.com/channel/UCpB20kmRi4zgMxyyJL3QrmgPARIS, 27-NOV-2014 (na Sede da UNESCO). Declaração do júri da UNESCO, integrando o CANTE ALENTEJANO na lista representativa do PATRIMÓNIO CULTURAL IMATERIAL DA HUMANIDADE. (Registo vídeo da MODA - Associação do Cante Alentejano, edição de José Colaço) https://youtu.be/r69KHaXCLGs?feature=sharedCefeira Linda CefeiraTerra - Os Ganhões de Castro Verde, Antologia: 1972 -2006. Polifonias AlentejanasMeus Lirio roxoLirio Roxo: cançao Alentejana. Rancho Coral de Serpa. The Gramophone Company EQ 354 OPC 14  1949? Ao romper da bela aurora Grupo Coral Os Cefeiros de Cuba: Alma do Poco CD 2005Fui colher MarcelaModas dos mastros - Grupo Coral e Etnografico As Camponesas de Castro Verde, Cortiçol – Cooperativa de Informaçao e Cultura, CRL, CD, 1997 Lá vai Serpa, lá vai Moura Cantes de Aldeia Nova - Rancho dos Cantadores de Aldeia Nova de São Bento CD 2001 Lá vai Serpa, lá vai Moura Cançao do Alentenjo. Edmundo Bettencourt. Columbia 8121 1928 Cefeira Celina da Piedade. Gravaçao inedita cedida por Celina da Piedade 2015 Venho da ilha dos vidros Viola Campaniça: Ilha dos vidros. Grupo de Violas Campaniças. Associaçao Cante Alentejano: Os Cardadores 2006 Toda a bela noite que eu ando  Castro Verde tem uma minha: Grupo e Coral Etnografico “Os Carapinhas” de Castro Verde. Cortiçol – Cooperativa de Informação e Cultura. CRL. CD 1997. Que inveja tens tu das rosas   Antonio Zambujo. Por meu cante. Ocarina OCA 008. 2004.All the music works short examples here above listed are included in the collection CANTES. Cante Alentejano Património Cultural da Humanidade (4 Books and CDs), A Bela e o Monstro. Edições / Público Comunicação Social SA, 2018. Coordination, texts and musical selection by Salwa El-Shawan Castelo-Branco and Paulo Lima   DisclaimerMediterranean 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.Please notice that opening and closing voice over is generated with AI tools.

When a musical culture is endangered and can nearly die out, it may happen that a single person can help to draw attention on it and stimulate the creation of a virtuous circle to induce a revival, even in a society which is so unstable and fragile as the Yemenite one.This is the case of Jean Lambert, ethnomusicologist and musician, who fell in love with the country from the first time he visited it and became a kind of unofficial ambassador of the traditional music of Yemen from its capital city Sana’a.During his field research he discovered a lute of ancient origin, the qanbus, that was on the verge of vanishing, as well as the original way of playing a copper dish called sahn mimiye. He studied the social importance of music in the Yemeni culture and collaborated to the process for including the Song of Sanaa in the Representative List of the Intangible Cultural Heritage of Humanity.About Jean LambertJean Lambert is an anthropologist and an ethnomusicologist specialized on Yemen and the Arabian Peninsula, as well as the history of Arab music. He also studies Arabic oral literature (poetry, tales, legends) in Yemen and Lebanon.He is currently Assistant professor in the Musée de l'Homme (National Museum of Natural History, Paris) and an associate researcher in the CREM-LESC (Université Paris Nanterre). He supervised many PhD candidates.From 2003 to 2008, he was the Director of the French Center for Archeology and Social Sciences (CEFAS) in Sanaa. Between 2009 and 2014, he was the Director of the Centre for Research inEthnoMusicology (CREM-LESC), CNRS, Université de Paris Nanterre.More information about his work is available here.Episode's musical sources list(most of them coming from J. Lambert’s book:  La médecine de l'âme. Le chant de Sanaa dans la société yéménite, Nanterre, Société d'ethnologie (1997, 1 CD included).01) Abdallah al-Jabri et Husayn Sa'sa, mizmar02) Yahya al-Nunu, Chant de Sanaa, oriental lute, “Zamân al-sibâ” (The time of youth)03) Abdallah al-Hammami, nashîd, “Yigarreb Allah“ (May God bring closer our encounter)04) Hasan al-Ajami, yemenite lute, “Bada ka-l-badr“ (He appeared like the full moon)05) Hasan al-Ajami, yemenite lute, instrumental introduction, fartash turki06) Mohammed Hamud al-Harithi, oriental lute, mutawwal : “Rahmân yâ Rahmân” (O Misericordious)07) Ahmed al Tashshi, yemenite lute, instrumental introduction, fertash08) Mohammed al-Khamisi, ”Yâ hayy yâ gayyûm” (O Living God, o Erected), copper plate, sahn09) Ahmed Telha, declamation of poetry10) Abdallah al-Hammami, nashîd, “Iqbis mata shiit” (Pick up as you want the flame of love from my liver)11) The Song of Sanaa, Unesco12) Abdallah a-Hammami, psalmody, Tasbih of pilgrimage13) Nidaa Abou Mrad, Tahmîlat Aqsâq Bayyâtî - taqâsîm14) Shaykh Ali Abu Bakr Ba-Sharahil,  yemenite lute, Song of Sanaa,“Yigarreb Allah” (May God bring closer our encounter)15) Mohammed bin Shamikh, oriental lute, tarhîb : “Bushrâk hâdha-I yawmu Îd” (Welcome song: Today is a feast day) (from cd Yemen: Songs from Hadramawt, Unesco Collection 199816) Abdallah al-Hammami, wedding procession song, ziffa17) Hasan al-Ajami, Chant de Sanaa, “Ya mughir al-gazala” (O you who make the deer jalous), copper plate, sahnDisclaimerMediterranean 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.Please notice that opening and closing voice over is generated with AI tools.

When we think about what has been called “classical music” of Maghreb, oral by tradition and linked to a past medieval artistic splendour, we immediately think of Morocco and Algeria, then of Tunisia, but much less of Libya.In Libya sufi brotherhoods played an important role in preservation and transmission of the nawabat (suites) common heritage for all the North Africa of Andalusian-Maghrebi art music, and the so called ma’lūf az-zāwiya, is the core of this tradition which is rooted in the Muslim Spain. However when it is performed by professional or semi professional musicians, it is generally indicated as ma’lūf alidhā‛.The Arab Andalusian musical tradition of Libya is close to the Tunisian one and shares the same name of ma’lūf. Guiding us in this tradition is Philip Ciantar, Associate Professor at the Department of Music Studies of the University of Malta.  During his field research in Tripoli, Philip Ciantar met with Hassan Araibi, the musician who was one of the most important connoisseurs of the repertoire of sung poetry organised in different modal suites. From this experience the maltese scholar started to investigate further this living tradition, meeting also with the members of the Araibi Ensemble that was part of the Libyan Radio. Prof. Ciantar listened and learned from their point of view the features, the key concepts and the poetic of this enchanting musical tradition.About Philip Ciantar Philip Ciantar is an Associate Professor at the Department of Music Studies within the School of Performing Arts, University of Malta. He teaches ethnomusicology and related subjects. His research interests lie in the areas of Mediterranean music studies; Andalusian music in North Africa; Maltese popular music; music and colonialism; the transmission of musical knowledge; and world music analysis. His publications include articles in a variety of journals and edited volumes, as well as entries in leading music encyclopedias. Among his publications are two single-authored monographs: The Ma’lūf in Contemporary Libya: An Arab Andalusian Musical Tradition (Ashgate 2012; Routledge 2016) and Studies in Maltese Popular Music (Routledge 2021).Episode's musical sources list Libyan Nawba: Jamru al HawāHassan Araibi's OrchestraLibyan Nawba: Jamru al HawāHassan Araibi's OrchestraMuwashshah: Salfiy ad-DhalāmHassan Araibi's OrchestraLibyan Nawba: Jamru al HawāHassan Araibi's OrchestraMa’lūf Az-Zawya during a Mawlid Parade Libyan Nawba: Nāh al HamāmHassan Araibi's OrchestraLibyan Nawba: Nāh al Hamām with a Ottoman-like military melody Libyan Nawba: Shawqa DanīyHassan Araibi's OrchestraA song from Libyan Nawba Nāh al Hamām compared to a Nawba Song from the Tunisian Ma’lūf Repertoire Nawba Nāh al Hamām in az-Zawya style Libyan Nawba: Shawqa DanīyHassan Araibi's Orchestra DisclaimerMediterranean 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.Please notice that opening and closing voice over is generated with AI tools.

Who are the Moroccan professional female singer-dancers (shikhat) from the rural Atlantic plateau?And what the Moroccan migrants in Italy, in particular the community of workers in Umbria, listen to?These and many other questions arise from the fieldwork experiences of Alessandra Ciucci in Morocco and Central Italy on the waves of the harsh sound of the ‘aita and the ‘abidat r-rma musical traditions. To explain the role of the female entertainers and the social environment where they came from, and to investigate what the community of Moroccan workers of Umbria like to listen to during their leisure time, she uses differents tools crossing ethnomusicology, popular music, gender and post-colonial studies.About Alessandra CiucciAlessandra Ciucci is Associate Professor of Music (Ethnomusicology) at Columbia University. She received a PhD in music (ethnomusicology) from the City University of New York at the Graduate Center. Her research interests include: the music of Morocco, the Maghreb, the Mediterranean, gender and sexuality, sung poetry, popular music of the Arab world, and music and migration. Her first book, The Voice of the Rural (University of Chicago Press, 2022), explores the significance and the endurance of a specific notion of the rural (l-'arubiya), in music, poetry and the voice among migrant Moroccan men in the Umbria region of Italy. This Monograph interrogates how the idea of l-'arubiya, which is entangled with a sense of place, longing and belonging, becomes particularly meaningful in Italy where it articulates a personhood rooted in a masculinity that is denied to Moroccan men though their labor and migratory status.Read moreEpisode's musical sources listHadik Muimti Fatna bent l-Houcine  IntroKhadija Al-Bidawiya   KharbushaFatna bent l-Houcine & Ouled Ben Aguida  Fina HoumaB. Elbidaoui - Kibbou - B. Znaiga  KharbushaFatna bent l-Houcine & Ouled Ben Aguida  Aita Ouled Ben Aguida with Hafida Hasnaoui e Aicha Nouni. "l-Aloua". Wedding Celebration July 2003 (Alessandra Ciucci field recording at a wedding party, men and women were present)  KharbushaFatna bent l-Houcine & Ouled Ben Aguida  El AidKhadija Al-Bidawiya  Abidat r-rma Shikh l-Bachir. "l-Ghaba"  El AidKhadija Al-Bidawiya  Abidat r-rma Shikh Sharqi. Wedding Celebration. July 2017 (Alessandra Ciucci field recording at a wedding party for men only. Audio of a video of Shikh Sharqi where he plays scissors and musicians around him imitate the sound of hunters and dogs chasing prey).DisclaimerMediterranean 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.Please notice that opening and closing voice over is generated with AI tools.

This episode will let us travel in the Balkan Area and beyond, following minorities and migration flows.The definition of the so-called "applied ethnomusicology" intersects with various activities that include study and research in a dimension where theory and practice are not separated but converge in the realization of different kind of projects.  Doing field research and work in contexts of tension and conflict is one of the main challenges of recent history for those who work in an intercultural perspective. The globalised era, such as the one we are living in, continuously questions the certainties of the discipline studying “local” musical cultures, which often belong to minority communities.  For Svanibor Pettan, interviewed for this episode, it was pivotal being born in Croatia and having lived in the Balkan area, a region affected by war and conflict. His attention towards minorities and, more recently, towards migrants and refugees is an example demonstrating the social function of ethnomusicology engaged in dissemination and cultural mediation.  About Svanibor PettanSvanibor Pettan is Professor and Chair in ethnomusicology at the Faculty of Arts, University of Ljubljana, Slovenia. His academic degrees are from the Universities of Zagreb, Croatia (B.A.), Ljubljana, Slovenia (M.A.), and Maryland, USA (Ph.D.), while his past and present fieldwork sites include central and southeastern Europe, Australia, Egypt, Norway, Sri Lanka, Tanzania, and the USA.His principal research topics are music and politics on a war-peace continuum, music and minorities, applied ethnomusicology, and institutional history of ethnomusicology.His professional career includes full-time posts as radio editor, scholar in a research institute, and professor at a music academy, department of ethnology and cultural anthropology, and department of musicology. As pedagogue, he shaped the study of ethnomusicology in Slovenia from bachelor's to doctoral level, served as a visiting professor at 12 universities, currently in Maribor, Vienna, and Zurich, and gave over a hundred invited lectures in 40 countries.He is the President of the International Council for Traditions of Music and Dance (ICTMD, the leading international association of ethnomusicologists and ethnochoreologists worldwide) and as Chair of its Study Group on Music and Minorities.Episode's musical sources listGizdava (traditional arranged by Barbara Pešut) from CD Katice: Jungfraua, Men Art /Dom Svobode (2001). Courtesy of Tanja Drašler of Katice to Svanibor PettanVrabec (composition by Hubert Pettan - Svanibor Pettan’s father) from CD Hubert Pettan: skladatelj/composer, Cantus 98905200092 (2012)Viva kemija (composition by Danijel Veličan)from home cassette recording of Svanibor Pettan’s school band Vještice (1971) Amerika (traditional)Svanibor Pettan’s field recording of the song performed by Franjo Kirin and his family in their home in the Gradišće village in Croatia (1981) Ko zbrani gremo vsi skoz vas (traditional)from CD Slovenie: Musiques et chants populaires, Ocora Radio France C 600007 1997 (recording of Radio Slovenija 1975-1995). Courtesy of Teja Klobčar, editor at Radio Slovenija, to Svanibor Pettan. Zapevala sojka ptica (traditional)Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001) Mravac muvu isprosio (traditional)Svanibor Pettan & Radio Zagreb’s field recording of a song by Serbian minority performers from the village of Blinja in central Croatian Banija/Banovina region in style na glas, on LP record Narodne pjesme i plesovi iz Banije 3, ULP-2464 (1989)Praising song for ICTM (International Council of Traditional Music)composition and performance by Lasanthi Manaranjanie Kalinga Dona - Svanibor Pettan’ wife in Vienna at celebratory transfer of the International Council of Traditional Music headquarter from Ljubljana to Vienna (2017) Gizdava (traditional arranged by Barbara Pešut)from CD Katice: Jungfraua, Men Art /Dom Svobode (2001). Courtesy of Tanja Drašler of Katice to Svanibor Pettan Mastika (traditional)Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001) Ilahija (traditional)Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001) Ati rahegi baharen (Indian film song)Svanibor Pettan’s field recording - performed by the ensemble of Agim Hadri (singer is Faton Lugbunari) from Gjakova, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001) Lament (traditional)Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001) Mravac muvu isprosio (traditional)Svanibor Pettan & Radio Zagreb’s field recording of a song by Serbian minority performers from the village of Blinja in central Croatian Banija/Banovina region in style na glas, on LP record Narodne pjesme i plesovi iz Banije 3, ULP-2464 (1989) Sedam zvijezdi (traditional)Svanibor Pettan & Radio Zagreb’s field recording of a song by Serbian minority performers from the village of Blinja in central Croatian Banija/Banovina region in style na bas, on LP record Narodne pjesme i plesovi iz Banije 3, ULP-2464, (1989) Moj dilbere (traditional)by Bosnian-Norwegian ensemble Azra, recorded in a refugee camp in Norway in 1995 by Norwegian Television (NRT) Gott erhalte (Kaiserlied) (composition by J. Haydn)the Austro-Hungarian national anthem, Svanibor Pettan’s field recording of the performance of his grandmother Slava Pettan in German (1986) Gott erhalte (Kaiserlied) (composition by J. Haydn)the Austro-Hungarian national anthem, Svanibor Pettan’s recording of performance of his grandmother Slava Pettan in Croat (1986) Dove tu vai Luigi (traditional)from CD Slovenie. Musiques et chants populaires, Ocora Radio France C 600007 1997 (recording of Radio Slovenija 1975-1995). Courtesy of Teja Klobčar editor at Radio Slovenija to Svanibor Pettan People singing and dancing "Janna, Janna, Janna" during a protest – Thessaloniki – 01.09.2016, recorded by Ioannis ChristidisGizdava (traditional arranged by Barbara Pešut)from CD Katice: Jungfraua, Men Art /Dom Svobode (2001). Courtesy of Tanja Drašler of Katice to Svanibor Pettan _Special thanks to Serge Noël-Ranaivo, Ocora Radio France label Coordinator_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.Please notice that opening and closing voice over is generated with AI tools.

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 PérèsAfter 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.Read moreEpisode's musical sources listSpanish Singers, Sanctus Marcel Pérès live recordingEnsemble Organum: Antiphona Alleluia. Psalmus 112 Laudate puerifrom: Chants de l'Église de Rome Vêpres du jour de Pâques, Harmonia Mundi (1998)Ensemble Organum: Gloria in excelsis Deofrom: Chant Mozarabe Cathédrale de Tolède (XVe siècle), Harmonia Mundi (1995)Ahmed Saher: Allaho akbarfrom: In memoria eterna, Harmonia Mundi (2021)Ensemble Organum: Rachid El Mazzaoui: In memoria eterna - Homo al l’jibalofrom: In memoria eterna, Harmonia Mundi (2021)Ensemble Organum: Prosule Tarakto baba arrajafrom: In memoria eterna, Harmonia Mundi (2021)Ensemble Organum: Deo gratiasfrom: 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.Please notice that opening and closing voice over is generated with AI tools.

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 PérèsAfter 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. Read moreEpisode's musical sources listEnsemble Organum: Kyriefrom: Machaut Messe de Notre Dame, Harmonia Mundi (1996)Francesco Cera: Messa Della Madonna – Christefrom: Girolamo Frescobaldi Toccate – Capricci – Fiori Musicali, Arcana (2019)Ensemble Organum: Office des lectures - III. Gloria in excelsis Deofrom: Chant Mozarabe, Harmonia Mundi (1995)Francesco Cera: Messa Della Domenica - Canzon Dopo l'Epistolafrom: Girolamo Frescobaldi Toccate – Capricci – Fiori Musicali, Arcana (2019)Ensemble Organum: Sanctusfrom: École Notre-Dame Messe Du Jour De Noël, Harmonia Mundi (1985)Ensemble Organum: Kyriefrom: Chant Corse Manuscrits Franciscains (XVIIe-XVIIIe Siècles), Harmonia Mundi (1994)Corsican Singers, Mamma risponde nun possoMarcel Pérès live recordingSpanish Singers, Sanctus Marcel Pérès live recordingDisclaimer 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.Please notice that opening and closing voice over is generated with AI tools.

La langue musicale du MAQÂM et ses éléments clés is the third episode of Mediterranean Intangible Heritage Soundscape, 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 MradNidaa 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.Episode's musical sources listTaqsim bayyatiNidaa Abou Mrad in Waṣalāt Parcours Instrumentaux de la Renaissance Arabe (2010) Taqsîm en Maqâm RâstFawzi 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 hourriteRafka Rizk in 4000 ans de musique au Levant, Ensemble de musique classiquearabe de l’Université Antonine (2018)Prélude & chant abbassidesMohammad Ayach in 4000 ans de musique au Levant, Ensemble de musiqueclassique 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 NahāwandCheikh Yūsuf Al-Manyalāwī (78 tours) Samâ'î RâstEnsemble de Musique Classique Arabe in Waṣalāt parcours instrumentaux de laRenaissance arabe (2010)Muwaššaḥ Wal-laḏī askaraCheikh Sayyid a-ṣ-Ṣafṭī (78 tours)Yā leyl et Dōr Kādnī l-hawā maqām Nahāwand CheikhYūsuf Al-Manyalāwī (78 tours) Mawwāl Bi-kulli marsūmCheikh Yūsuf Al-Manyalāwī (78 tours)Qaṣīda Ukaḍḍibu nafsī maqām SīkāhCheikh Yūsuf Al-Manyalāwī (78 tours) Dârij BayyâtîEnsemble de Musique Classique Arabe in Waṣalāt parcours instrumentaux de laRenaissance 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.Please notice that opening and closing voice over is generated with AI tools.

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 ImamovićDamir 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.Episode's musical sources listIntroDamir Imamović in Sevdah TakhtSarajevoDamir Imamović in Dvojka, Glitter Beat Okreni se niz djul bascu (Hamid Dizdar - Isak Samokovlija)Zaim Imamovićavailable on Sevdah Treasure Soundcloud pagehttps://soundcloud.com/semir-vranic/zaim-imamovic-okreni-se-niz-dul-bascu Pokraj Save bagrem drvo raste (traditional)Emina Zečaj and Selim Salihovićavailable on Sevdah Treasure Soundcloud pagehttps://soundcloud.com/semir-vranic/emina-zecaj-pokraj-save-bagrem-drvo-rastehttps://www.youtube.com/watch?v=pddvtcx0nVk Izidji der Fato (traditional)Zaim Imamović and Alajbegović-Petkovićavailable on Sevdah Treasure Soundcloud pagehttps://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 Katamaavailable on Sevdah Treasure Soundcloud pagehttps://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 BeatDisclaimer 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.Please notice that opening and closing voice over is generated with AI tools.

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 ShannonDr. 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.Episode's musical sources listQadd 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’DunyaSabah Fakhri from Sabah Fakhri Au palais des congrès, Polydor 2672 055 / Alep Disques 2672 055 (1978) https://www.youtube.com/watch?v=oxJ4dolAttgAna fi intizarak (Zakarya Ahmad – Bayram Tunsi) Umm Kulthum https://www.youtube.com/watch?v=yYZG-ihqnDcTaqsim for ‘udrecorded 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 2019Yamorro Oujban (Omar al-Batsch – arranged by Göksel Baktagir)From Aleppo To Istanbul Project (live recording 2019)https://www.youtube.com/watch?v=8wuoPKDqdW8Samai 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 quartetComposer Or Rozenfeld.Ajam quartet are an active band from BerlinWebsite: https://www.ajamquartet.com/Mshaweerak Bilfada (Nour Yamm)https://www.youtube.com/watch?v=xiEPRv5Cq8MInstagramSoundcloudFacebookTwitterDhikr 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=n6VjsvT6o3sMore information SyrianMusic.orgBetween the Strings (Diab Mekari - Arif Altunkaya)Diab Mekarihttps://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.Please notice that opening and closing voice over is generated with AI tools.