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REGISTER FREELY AND JOIN ON WWW.SYRIACMUSIC2021.ORG.
Your are warmly invited to
participate to the online Musicological Conference on the Syriac Musical
Tradition organised by the Haute Ecole de Musique (HEM) of Geneva (Switzerland)
and the Laus Plena Foundation, Lugano (Switzerland), which will be held in
Geneva and online around the Globe from 17 to 21 March 2021 (each day from 12
am to 3 pm UTC + 1, concerts as per specific schedule). The Conference will be
held in English and in French.
Several concerts are offered
to illustrate the conference, that will be streamed from Geneva (Switzerland),
Mardin (Turkey), The Netherlands, Quaraquosh (Iraq), Byblos (Lebanon), and
Kottayam (India).
For the full programme and
schedule, please check www.syriacmusic2021.org.
The conference aims at being an
opportunity for exchange and discussion among 17 specialists of the Syriac
Musical Tradition or of its influences and exchanges with other traditions. The
intention is to review the existing status of works and to revitalize the
current research about it. The conference is public and largely open to
representatives of the Syriac communities, to HEM and partner
Universities students, and to any interested person.
Presentations given during
the conference will be published.
Participant Lecturers
Dr. Gabriel Aydin, Syriac
Music Institute, USA
Dr. Sebastian Brock, Oxford, UK
Dr. Enrico Fink, Shemah
School of Jewish Studies, Florence, Italy
Jalal Polus Gajo, Iraq, Haute
Ecole de Musique de Genève
Dr. Prof. Mammoottil P.
George, Orthodox Theological Seminary, Sruti Liturgical Music School,
Kottayam, India
Dr. Michael
Henein, Egypt, St Kyrel Trust, UK
Nouri Iskandar, Former Director
of the Institute for Eastern Music, Aleppo, Syria
Dr. Tala Jarjour, King’s
College, London, UK
Prof. Dr. Peter Jeffery, Notre
Dame University, USA
Prof. Dr. Elias
Kesrouani, Lebanon
Prof. Fadi
Lion, Iraq, Par. St Ephrem, Lyon, France
Dr. Toufic Maatouk, Université
Antonine, Lebanon
Violaine
Trentesaux Mochizuki, Marquartstein Institute, Germany
Prof. Nida Abou Mrad, Université
Antonine, Lebanon
Dr. Joseph Palackal, Musicological
Society of India
Prof. Miled Tarabay, University
of Kaslik, Lebanon
Prof. Dr. Luca
Ricossa, Haute Ecole de Musique de Genève
Please join us for this highly
interesting event. Do not hesitate to forward this invitation further!
The topics to be discussed
develop four streams of analysis:
Sources and development of Syriac
Music
We will focus on researches
made about the sources and about the historical and geographical development
phases of the Music of the Eastern and Indian Syriac Churches, taking into
account both the recent philological discoveries and the footprints that
can still be found in the alive oral traditions.
Characteristics: Syriac octoechos,
modes, tetrachords, composition principles of Syriac melodies
A common conceptual legacy of the
various Syriac musical traditions and of other Christian traditions, the Octoechos appears to have
obtained its shared recognition in Jerusalem between the 5th and
the 9th Centuries, presumably drawing from preexisting elements.
Many questions remain open about its relation to Arabic and Turkish
makams, Persian systems, as well as about its role in the Byzantine,
Gregorian, Georgian and Armenian repertoire. The role of the Syriac
tradition in the birth of the Octoechos, as well as the building
principles of Syriac melodies, will be given particular focus.
Exchanges & influences
between traditions
How did the acculturation of
Syriac musical traditions operate during their displacement into other
linguistic and cultural areas? Which other Christian and
non-Christian musical traditions were influenced by, or have
influenced the Syriac Music traditions during their migration?
How are these musical traditions preserved or transformed in the diasporas that
emerged due to the contemporary migrations?
Preservation and heritage status
The political conflicts of
the last decades and the related immigration have considerably weakened the
Eastern Churches’ Syriac musical heritage. By which means, such as recording,
transcriptions, etc., and by which methodologies can the conservation of the
Syriac musical heritage and its transmission be ensured ?
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