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ALAMI
Oud Junkie
Posts: 645
Registered: 12-14-2006
Location: Beirut
Member Is Offline
Mood: No Mood
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David is pointing an important fact, can we still find in the Arab World a teacher that is still attached to the old school oral transmission methods
as Marc Loopuyt? I guess yes but very few, very old and probably considered as "outdated" teatchers by the establishment. Marc Loopuyt is a bit of a
fundamentalist, but I would like to study with someone like him, I am not sure if there is still a Lebanese teacher as attached to tradition.
I am just an amateur and, unfortunately, too busy to dedicate serious time for oud, so I focus on one maqam for 2-3-4 months (very few hours a week)
and I read a bit, I've learned more from French documents than from Arabic ones.
When I meet with professional Lebanese or Arab oudists, I know many of them including very well known ones, I am always amazed by how little they know
about maqam theory, when i talk about some unusual maqams, very often, they look at me amused and they say "how the hell you know all this?".
Then they take their oud, they do a taqsim and it is great, somehow they don't know that they know, they just know. Many of these oudists are way
better in informal or private performance than in their "official" concerts.
Oral transmission has disappeared in its traditional form but, magically, it is still somewhere under the hood, may be in the culture, the water, the
music coming from old neighbors' house.I don't know it is not very rational.
This is probably what Michoud is after.
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David.B
Oud Junkie
Posts: 640
Registered: 9-5-2009
Location: France
Member Is Offline
Mood: Renaissance
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Thanks for your words ALAMI, it confirms my thoughts ...
Also, I totally agree with you, if a musician fell into "the pot", it might be difficult for him to explain about his music : it's like explaining
your own culture, the food you eat, the air you breathe, the way you love, and so on.
"Un grand principe méditerranéen est que la musique précède l'instrument et qu'il faut s'y baigner et l'ntérioriser avant de s'escrimer sur les
cordes. Sur le terrain d'origine, c'est l'environnement musical qui se charge de cet établissement : le sein, le lait et les berceuses combinées de
la nourrice - voire de plusieurs nourrices -, les jeux musicaux des enfants, les musiques de circonstances, la proximité fréquente de musiciens en
action... Nous sommes dans dans l'idéal mythique et quelquefois réel du terrain, ce qu'entre nous nous appelons communément "la marmite", celle où
il fait bon être tombé, et apparemment Villeurbanne en serait bien loin..."
"A great Mediterranean principle is that music precede the instrument and one must bathe and then internalize before fenced on the strings. In the
field of origin, the musical environment is responsible for this establishment: the breast milk and combined lullabies of the nurse - and even more
nurses - music games for children, the music of circumstances, frequent proximity of musicians in action ... We are in Ideally mythical and sometimes
real field, between us we commonly call "the pot", where it is good that one fell, and apparently would Villeurbanne far ... "
Marc Loopuyt
PS
Sorry about the English translation : a mix of Google and I.
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michoud
Oud Junkie
Posts: 383
Registered: 6-2-2006
Location: Spain
Member Is Offline
Mood: in the mooud again..
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David, your point is really interesting.
I saw both sides in Syria, for example in the high institute of music in Damascus, they way they teach arabic music is totally western way, which I
don´t like, but for example you can find great young player and teacher, AIman Jesry, who likes to teach in the old style.
Also he told me that he has problems with some of his students, because most of them they want to play very faaaaast, and this is the only thing they
want to learn, technic technic and technic...He knows a lot, he plays perfect turkish and arabic, and his knowledge about maqam is incredible but the
young students they are not very interested in "old" stuff.
Also there in Syria you can find some teachers that they teach in the old style, usually are not young, like Mohammad Qadri Dalal in Aleppo.
Also I agree with Alami, what I said is not very rational, but for me is like this, when you are leaving for example in Syria, you take a walk in the
old zouq in Aleppo, you eat fool in a small restaurant while you are listening to Fairuz, or you take a taxi late at night and the old taxi driver is
listening to Sabah Fahri or Oum Kalthoum...the atmosphere comes over you...also every kind of music borns in a special place, so even if we are living
in modern times and you go to a restaurant in Damascus and they are listening to this f**ing Enrique Iglesias, there is magic you only need to feel
it,
I can imagine that for a foreign who wants to learn flamenco, is not the same to learn it with a good teacher in Berlin than with a good teacher in
Jerez de la Frontera, where you can feel why this music was born there...
I remember once my teacher ask me: why you decide to come to Syria? and specially why you were living in Homs and now in Aleppo and you didnt decide
to go to Damascus (cosmopolitan city, night life)? Homs and Aleppo are not very easy to live for a foreign...
I told him, these places have something, I really dont know what or where, but I can feel it
I know I´m very romantic  but I think all of us we are, if not we were not
playing this incredible instrument which is the oud!
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