Skip to Main content Skip to Navigation
Journal articles

Les figures multiples de l’hétérophonie dans la musique de Zad Moultaka

Abstract : The Franco-Lebanese musician Zad Moultaka reframes the musical material of his native Near East culture within the universe of contemporary music. This distanced relationship serves to renew the very perception of cultural heritage, so that certain innate qualities that went unremarked in their original cultural milieu now appear loaded with aesthetic potential when seen from this new angle. In particular, this is the case with heterophony. In this regard, Moultaka’s approach seems homologous with that of José Evangelista who, from an equally removed viewpoint, borrowed the heterophonic process and the principle of monodic line from certain Asian traditions. Certainly a “floating” textural quality, which has mimetic rather than strictly rational value and is primarily an oral phenomenon, can be found in the music of both composers. And in Moultaka’s case, heterophony is not as important in isolation as what it yields in combination: In conjunction with other writing techniques, the oral tradition gives rise to a diversity of intrinsic aesthetic values.
Document type :
Journal articles
Complete list of metadata
Contributor : Anis Fariji Connect in order to contact the contributor
Submitted on : Thursday, November 30, 2017 - 5:51:49 PM
Last modification on : Tuesday, August 9, 2022 - 4:44:29 PM

Links full text



Anis Fariji. Les figures multiples de l’hétérophonie dans la musique de Zad Moultaka. Circuit : musiques contemporaines, Montreal : Presses de l'Université de Montreal, 2017, Illusions polyphoniques : José Evangelista et l’hétérophonie, 27 (3), pp.23-38. ⟨10.7202/1042836ar⟩. ⟨hal-01652856⟩



Record views