Le 'quanto syllabique'. Métrique poétique arabe et rythmique bichrone au Yémen

Abstract : For a while, among the theoricians of the Arabian music, the poetic meter was used as a model for the analysis of rhythm, for instance Avicenne. Then, this model was progressively left for a more performing mathematical tool. Nevertheless, an "archeological" study of the relations between poetical meter and musical rhythm allowed us to discover in the Yemeni contemporary music some forms in which meter and rhythm use the same global structure which specialists of Arabian poetry called "quantitative" and which musicologists called "bichrone". The article explores these continuous relations in three forms of sung poetry in Yemen, the sama' from Hadramawt, the mawâl from Tihâma and the madîh, the Prophet's panegyrics. It is noteworthy that, when these rhythms have a cyclic form, the basic foot of the rajaz meter is used as the model for rhythmic cycles which can be indifferently realized as 7/8 or 11/8. Thus, appears the importance of this cognitive relation between meter and rhythm, which I chose to call "quanto syllabic", In order to distinguish it from other forms of metrico-rhythmic convergences like the "giusto syllabic" conceived by Constantin Brailoiu (in the Rumanian sung poetry), the "syllabic song" (like the zâmil in Yemen) or the "isosyllabic meter", for Instance the qarrâdî in Lebanon.
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Jean Lambert. Le 'quanto syllabique'. Métrique poétique arabe et rythmique bichrone au Yémen. Revue des Traditions Musicales des Mondes Arabe et Méditerranéen, Editions de l'Université Antonine, 2012, Sémiotique et psychocognition des monodies modales, pp.19-42. ⟨halshs-00440753v2⟩

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