{"id":21143,"date":"2021-10-14T11:43:21","date_gmt":"2021-10-14T10:43:21","guid":{"rendered":"https:\/\/cedej-old.hybrid-cs.com\/?p=21143"},"modified":"2021-10-15T00:29:52","modified_gmt":"2021-10-14T23:29:52","slug":"aswat-cedej-ifao-the-fifth-string-25-octobre-a-19h00","status":"publish","type":"post","link":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/2021\/10\/14\/aswat-cedej-ifao-the-fifth-string-25-octobre-a-19h00\/","title":{"rendered":"Aswat CEDEJ\/IFAO : “The Fifth String” | 25 octobre \u00e0 19h00"},"content":{"rendered":"
\"\"<\/a>Inscription \/ Registration here<\/a><\/h5>\n
Find here<\/a> more details about this event<\/h5>\n
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Sounds – and music – are able to shape individual and collective identities, define spaces and borders, denote cultures, transmit knowledge and influence style lives. ASWAT is a series of music meetings and performances focusing on Egyptian culture(s) of music that seeks to explore a range of musical practices across Egypt, and beyond, through the contribution of academic speakers and music makers, followed by a concert.
\nThe meetings will offer the opportunity to deepen some historical, religious, social and musicological aspects that interwoven in, and from, the Egyptian music heritage, addressing creation, performance and reception practice.<\/div>\n
ASWAT<\/strong> <\/span>is a joint initiative from IFAO and CEDEJ, curated by Kawkab Tawfik<\/div>\n
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Event Description:<\/b><\/div>\n
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The great Egyptian 20th century music tradition is not dead but alive both in contemporary performance and it is inspiration for new compositions. Arabic music making is more and more developing and shaping new forms and expressions, traveling across and beyond geographical spaces, meeting new audiences.\u00a0<\/span><\/p>\n

S\u00f8ren M\u00f8ller S\u00f8rensen<\/strong>, senior professor of musicology at University of Copenhagen, Denmark, will introduce the musician Bilal Irshed, Danish Palestinian musician rooted in Arab tradition, as an indicative model of this phenomenon.<\/span><\/p>\n

Bilal Irshed and his quartet will perform a selection of music from his project <\/span>The Fifth String – <\/i>\u0627\u0644\u0648\u062a\u0631 \u0627\u0644\u062e\u0627\u0645\u0633<\/i><\/strong>.<\/strong>\u00a0<\/span><\/p>\n

Le nom du projet s\u2019inspire d\u2019un musician arabe du IX\u00e8me si\u00e8cle, Ziryab. Il est consid\u00e9r\u00e9 comme le fondateur de la tradition musicale andalouse dans le monde arabe et fut un des premiers \u00e0 avoir introduit l\u2019influence arabe dans la musique espagnole. On lui doit aussi le fait d\u2019avoir ajout\u00e9 une cinqui\u00e8me corde \u00e0 l\u2019oud qui n\u2019en avait alors que quatre. Selon la l\u00e9gende, Ziryab a color\u00e9 les quatre cordes de fa\u00e7on \u00e0 ce qu\u2019elles symbolisent les quatre humeurs d\u2019Aristote. Il a ensuite ajout\u00e9 une cinqui\u00e8me corde cens\u00e9e repr\u00e9senter l\u2019\u00e2me. C\u2019est de cette cinqui\u00e8me corde que le projet prend son inspiration.\u00a0<\/span><\/p>\n

The project takes its name from a 9th century Arab musician named Ziryab. He is considered to be the founder of the Andalusian musical tradition in the Arab world and was one of the pioneers of Arab influence on Spanish music. He is also credited for having added a fifth string to the then four-string oud. According to the legend Ziryab coloured the first four strings so that they would symbolise Aristotle\u2019s four temperaments. Then he added a fifth string that would represent the soul. It is from this fifth string that the project draws its inspiration.<\/span><\/p>\n

The Fifth String was created by the oud player Bilal Irshed and the music consists of original compositions combined with new arrangements of Egyptian 20th century music tradition. The sound and atmosphere of chamber music was the added to these compositions, serving to create a whole new musical experience and sound.\u00a0<\/span><\/p>\n

La cinqui\u00e8me corde a \u00e9t\u00e9 cr\u00e9\u00e9 par le joueur de oud Bilal Irshed et ses cr\u00e9ations consistent en des compositions originales combin\u00e9es avec de nouveaux arrangements de la tradition musicale \u00e9gyptienne du 20\u00e8me si\u00e8cle. Le son et l\u2019atmosph\u00e8re de la musique de chambre ont \u00e9t\u00e9 ajout\u00e9s \u00e0 ces compositions, servant \u00e0 cr\u00e9er une exp\u00e9rience musicale et un son nouveaux.\u00a0<\/span><\/p>\n

Link: <\/span>http:\/\/www.bilalirshed.com\/the_fifth_string\/<\/span><\/a>\u00a0<\/span><\/p>\n

Instruments:<\/b> Oud, violin, Cello, percussion<\/span><\/p>\n

Oud, violoncelle, violon, percussion<\/span><\/p>\n

Biographies:<\/b><\/p>\n

S\u00f8ren M\u00f8ller S\u00f8rensen<\/b> is a senior professor of musicology at University of Copenhagen, Denmark. He is specialized in music history and philosophies of music. Through his long carrier, he has contributed to the development of the theoretical foundation of his subject, particularly music historiography. His field of study includes European as well as Arab music. In both cases, his research is marked by a never-ending quest to understand music in its cultural embeddedness, be it in societal terms or in terms of the relation to philosophy, literature and the arts in general.<\/span><\/p>\n

S\u00f8ren M\u00f8ller S\u00f8rensen <\/b>est professeur de musicologie \u00e0 l\u2019Universit\u00e9 de Copenhague au Danemark. Il est sp\u00e9cialis\u00e9 en histoire et philosophie de la musique. A travers sa carri\u00e8re, il a contribu\u00e9 au d\u00e9veloppement th\u00e9orique de son sujet, en particulier de l\u2019historiographie musicale. Ses domaines d\u2019\u00e9tude incluent la musique europ\u00e9enne et arabe. Dans les deux cas, sa recherche est marqu\u00e9e par une qu\u00eate permanente de la compr\u00e9hension de la musique dans sa liaison intime avec la culture, que ce soit en terme social ou en relation \u00e0 la philosophie, litt\u00e9rature et aux arts en g\u00e9n\u00e9ral.\u00a0\u00a0<\/span><\/p>\n

Bilal Irshed<\/b> is a Palestinian oud virtuoso and music composer who is currently residing in Denmark. He was born and raised on the village of Daboryya in the northern Galilee. At the age of 13 he started playing the Oud and he moved to Jerusalem to study music, here he specialized in the Oud at the Academy for Music and Dance. He joined the Arabic music orchestra of Nazareth in 2002, he toured and performed with at many international venues and music Festivals in Europe. In 2011 Bilal released two albums: \u2018Compositions` with Bilal\u00b4s Trio and `The Fifth String\u00b4 with the Fifth String Ensemble. In 2015 he released two more albums `Chronotope` with Bilal Irshed Trio and `Ineffable` with Bilal Irshed & Global Tunes.<\/span><\/p>\n

Bilal Irshed<\/b> est un joueur de oud palestinien virtuose et compositeur qui vit au Danemark. Il est n\u00e9 et a \u00e9t\u00e9 \u00e9lev\u00e9 dans le village de Daboryya au Nord de la Galil\u00e9e. Il commenca \u00e0 jouer du oud \u00e0 l\u2019\u00e2ge de 13 ans et partit \u00e9tudier\u00a0 la musique \u00e0 J\u00e9rusalem o\u00f9 il se sp\u00e9cialisa dans le oud \u00e0 l\u2019acad\u00e9mie de musique et de danse. Il a rejoint l\u2019orchestre de musique arabe de Nazareth en 2002 puis a fait des tourn\u00e9es et a jou\u00e9 dans de nombreux festivals internationals et concerts en Europe. En 2011, Bilal a sorti deux albums: \u201cCompositions\u201d avec le trio Bilal et \u201cla cinqui\u00e8me corde\u201d avec le groupe\u00a0 Fifth string\u201d. En 2015 il a pr\u00e9sent\u00e9 deux autres albums \u201cChronotope\u201d avec le Trio Bilal Irshed et \u201cIneffable\u201d avec<\/span> with Global Tunes.<\/span><\/p>\n<\/div>\n

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Inscription \/ Registration here Find here more details about this event Sounds – and music – are able to shape individual and collective identities, define spaces and borders, denote cultures, transmit knowledge and influence style lives. ASWAT is a series of music meetings and performances focusing on Egyptian culture(s) of music that seeks to explore…<\/p>\n","protected":false},"author":3,"featured_media":21148,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[42],"tags":[],"_links":{"self":[{"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/posts\/21143"}],"collection":[{"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/comments?post=21143"}],"version-history":[{"count":6,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/posts\/21143\/revisions"}],"predecessor-version":[{"id":21156,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/posts\/21143\/revisions\/21156"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/media\/21148"}],"wp:attachment":[{"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/media?parent=21143"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/categories?post=21143"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/tags?post=21143"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}