{"id":103379,"date":"2024-05-28T11:40:09","date_gmt":"2024-05-28T10:40:09","guid":{"rendered":"https:\/\/jazairhope.org\/?p=103379"},"modified":"2024-05-28T11:40:09","modified_gmt":"2024-05-28T10:40:09","slug":"salim-el-hassar-chercheur-en-patrimoine-musical-andalou","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/fr\/salim-el-hassar-chercheur-en-patrimoine-musical-andalou\/","title":{"rendered":"SALIM EL HASSAR, CHERCHEUR EN PATRIMOINE MUSICAL ANDALOU"},"content":{"rendered":"

Entretien r\u00e9alis\u00e9 par Souha Bahamid<\/strong><\/p>\n

Abdelkader Salim El Hassar est ma\u00eetre de conf\u00e9rences \u00e0 l\u2019\u00c9cole sup\u00e9rieur de management de Tlemcen. Passionn\u00e9 d\u2019histoire et de culture, il porte un int\u00e9r\u00eat particulier au patrimoine musical arabo-andalou. Il a \u00e0 son actif une riche bibliographie portant presque toute sur la musique andalouse et particuli\u00e8rement le genre Gharnati. Parmi ces publications, des ouvrages consacr\u00e9s \u00e0 l\u2019\u00e9pop\u00e9e et \u00e0 l\u2019h\u00e9ritage de la musique andalouse ainsi qu\u2019une \u00e9tude sur la po\u00e9sie et le r\u00e9pertoire musical des ma\u00eetres de Tlemcen.<\/p>\n

Dans cet entretien, il parle de la premi\u00e8re partie d\u2019une anthologie en quatre tomes paru aux \u00c9ditions Kounouz, avec le concours de l\u2019Office national des droits d\u2019auteurs et droits voisins (ONDA) intitul\u00e9e \u00abExhalaison des fleurs d\u2019Eden, Gharnata, Sana\u2019a, Malouf\u00bb. Cette anthologie est le fruit d\u2019un travail \u00e0 la fois de compilation et de recherches dans lequel il pr\u00e9sente, recense et analyse la grande fresque lyrique de la musique arabo-andalouse, en regroupant toutes les \u00abM\u2019ouwachahat et Azjal\u00bb du r\u00e9pertoire andalou.<\/p>\n

Qu\u2019est-ce qui vous a motiv\u00e9 \u00e0 publier cette \u0153uvre sur la musique arabo-andalouse?<\/strong><\/p>\n

Dans la continuit\u00e9 de la premi\u00e8re investigation des textes de mon premier livre, \u00abDe Grenade \u00e0 Tlemcen\u00bb, je me suis concentr\u00e9 essentiellement sur l\u2019h\u00e9ritage musical des ma\u00eetres de Tlemcen. Et dans l\u2019optique de r\u00e9tablir des connexions avec les autres \u00e9coles d\u2019Alg\u00e9rie et du Maghreb, je me suis lanc\u00e9 dans une investigation touchant les domaines du Malouf, de la Gharnata et de la Sana\u00e2.\u00a0 Une autre motivation m\u2019a pouss\u00e9\u00a0 \u00e0 rassembler en un seul corpus, l\u2019ensemble des textes qui \u00e9taient chant\u00e9s autrefois. Ainsi, en m\u2019int\u00e9ressant \u00e0 l\u2019histoire de cette musique, ma recherche a \u00e9t\u00e9 dirig\u00e9e vers ses origines. Puisqu\u2019elle existe au Maghreb depuis des lustres, il y a eu de nombreux enrichissements de la part des Maghr\u00e9bins.<\/p>\n

L\u2019analyse des textes a r\u00e9v\u00e9l\u00e9 la contribution importante de nombreux po\u00e8tes alg\u00e9riens et maghr\u00e9bins qui ont versifi\u00e9 dans le \u00abZajel et el Mouwacheh\u00bb, avec notamment la plus r\u00e9cente \u0153uvre recens\u00e9e \u00abKoum Tara darahem el Louz\u00bb de Bendebbah du 18e si\u00e8cle.\u00a0 Cela prouve, qu\u2019effectivement il s\u2019agit d\u2019un patrimoine andalou-maghr\u00e9bin. Quels d\u00e9fis particuliers avez vous rencontr\u00e9s lors de vos recherches, et comment vous les avez surmont\u00e9s ?<\/p>\n

Le probl\u00e8me colossal que j\u2019ai rencontr\u00e9 est celui des archives. Nous ne connaissons que peu de musique. Par cons\u00e9quent, il a \u00e9t\u00e9 n\u00e9cessaire de confronter ces rares documents afin de r\u00e9ajuster les textes, clarifier l\u2019attribution des po\u00e9sies portant une double signature,\u00a0 et apporter des corrections de sens aux textes que nous chantons. Malgr\u00e9\u00a0 la raret\u00e9 des documents,\u00a0 ces derniers nous ont permis de lancer d\u2019autres investigations et clarifier d\u2019autres zones d\u2019ombres qui affectent le patrimoine de la chanson andalouse.<\/p>\n

Quels aspects de la musique arabo-andalouse avez-vous trouv\u00e9s les plus importants et fascinants \u00e0 explorer ?<\/strong><\/p>\n

Les diff\u00e9rentes th\u00e9matiques r\u00e9currentes dans les Mouwacheh et Zajel,\u00a0allant des textes mystiques aux sujets profanes, m\u2019ont vraiment intrigu\u00e9.\u00a0J\u2019ai \u00e9t\u00e9 \u00e9galement fascin\u00e9 par le travail\u00a0 de l\u2019authentification de textes qui\u00a0 nous a permis de clarifier le sens, d\u2019apporter les corrections n\u00e9cessaire et confirmer la parent\u00e9 de chaque po\u00e9sie.<\/p>\n

Quelle analyse faites-vous de l\u2019\u00e9volution de ce patrimoine dans le paysage musical contemporain ?<\/strong><\/p>\n

L\u2019\u00e9volution de cette musique d\u00e9pend n\u00e9cessairement d\u2019une volont\u00e9 de mettre en place une v\u00e9ritable politique\u00a0 qui permet de pr\u00e9server ce qui reste de cet h\u00e9ritage.\u00a0 Il est important de donner aux professionnels les moyens pour restaurer cette musique, et ajuster certaines notions pour r\u00e9ussir \u00e0 la mettre davantage en valeur. Il faudrait laisser libre court \u00e0 la cr\u00e9ation qui est n\u00e9cessaire pour la continuit\u00e9\u00a0 de la chanson andalouse. Comment peut-on le pr\u00e9server ? Il est essentiel d\u2019entreprendre une d\u00e9marche institutionnelle s\u00e9rieuse pour pr\u00e9server ce patrimoine. Le minist\u00e8re de la Culture et des Arts peut engager un certain nombre de proc\u00e9d\u00e9s,\u00a0 tels que l\u2019introduction de l\u2019enseignement de cette musique dans les \u00e9coles et la cr\u00e9ation de centres sp\u00e9cialis\u00e9s d\u00e9di\u00e9s\u00a0au patrimoine citadin.<\/p>\n

Pensez-vous qu\u2019il y a assez de livres traitant du sujet ?<\/strong><\/p>\n

Bien que ce domaine ait \u00e9volu\u00e9 ces derni\u00e8res ann\u00e9es, cela reste, malheureusement, insuffisant. Nous enregistrons peu de contributions autour du patrimoine de la chanson andalouse.<\/p>\n

S.B.<\/strong><\/p>\n

SALIM EL HASSAR, CHERCHEUR EN PATRIMOINE MUSICAL ANDALOU \u2013 Horizons<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Entretien r\u00e9alis\u00e9 par Souha Bahamid Abdelkader Salim El Hassar est ma\u00eetre de conf\u00e9rences \u00e0 l\u2019\u00c9cole sup\u00e9rieur de management de Tlemcen. Passionn\u00e9 d\u2019histoire…<\/p>\n","protected":false},"author":61,"featured_media":103380,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[34,39,42],"tags":[],"class_list":["post-103379","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-fr","category-articles-en-vedette","category-histoire-et-patrimoine"],"yoast_head":"\nSALIM EL HASSAR, CHERCHEUR EN PATRIMOINE MUSICAL ANDALOU - AAH.JZR<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jazairhope.org\/fr\/salim-el-hassar-chercheur-en-patrimoine-musical-andalou\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"SALIM EL HASSAR, CHERCHEUR EN PATRIMOINE MUSICAL ANDALOU - AAH.JZR\" \/>\n<meta property=\"og:description\" content=\"Entretien r\u00e9alis\u00e9 par Souha Bahamid Abdelkader Salim El Hassar est ma\u00eetre de conf\u00e9rences \u00e0 l\u2019\u00c9cole sup\u00e9rieur de management de Tlemcen. 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