Arabic-speaking music in images: the diffusion beyond forms. The changes in media contexts of filmed musical forms and their implications for analysis and reading
The music of the screens exposes binary and reciprocal discourses with close links between sounds and images. In fact, Arabic-speaking music and its images occupy the media spaces thanks to its past in the context of film and television, but also thanks to its present with the emancipation of NTIC and intermediality. (Altman, 2000) Following a rather remarkable abundance of material to be treated in analysis and interpretation, we propose to stop to explore old musical expressions filmed, who have been solicited for a second life by broadcasting on various current media platforms.
If “The redefinition of systems, means of writing and/or creating new works makes it essential to develop new methodologies, no doubt complementary, adapted to the multiple existing currents.”, (Riotte, 1996) The Arabic-speaking film music recorded in earlier periods now finds a problematic place in new contexts, travels forward in time and undergoes a sort of remediation, (Botter & Grusin, 2000 ) thus arousing interest and issuing some questions. In fact, it seems justified today to stop in front of the Arabic-speaking music filmed and to establish landmarks that join both its past through ancient forms, cinema and television and its present through the emancipation of pseudo-forms that proliferate in new networks and contexts, especially intermediatic.
What are the specificities of the Arabic-speaking musical forms filmed in cinema and television, in terms of binary language and the contributions of music in these contexts?
What are the implications of NTIC and intermediality on Arabic music filmed today?
What places and functions for filmed Arabic music, coming from ancient forms in the current universe of broadcasting?
In order to better understand this topic, we propose to stop on musical examples from the Egyptian singing cinema of the 1930s and Arab music television broadcast in the 1980s. Note that these examples are also being disseminated today through social networks in new formats and contexts.
Keywords: diffusion and NTIC, musical analysis, filmed musical forms, Arab music, diffusion
Biography
Imed Ghdemsi. After four years of studies at the H. I. of Music in Tunis, ended with a master’s degree, I studied at the H. I. of Music in Sousse for a Masters in Aesthetics, Sciences and Techniques of Music. I specialized in Management and Administration of Music. These studies have allowed me to acquire a training in the analysis of various musical genres, image and music, society and media, research methodology, philosophy and aesthetics of art, etc. After having a PhD thesis in Aesthetics and Practices of the Arts at the I. S. des B-arts de Sousse, I participated in several symposiums that gives an interest to music and its images. I have published two books entitled The Arab Video Clip. Diversity and stereotypes and The relationship of music to images in Arab video clips. At the moment, I am a full-time member of the Higher Institute of Music in Sousse.
University of Sousse, Tunisia – kelmabehia@hotmail.com