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Bowing traditions around the Mediterranean and beyond
curated by
Amedeo Fera [KU Leuven] and Ed Emery [SOAS London]
Our title explains itself - but perhaps we should expand on it. "Mediterranean" seems obvious - but in terms of influences and diffusions the area of musicality that we embrace actually spreads from Gibraltar to Afghanistan, from Novgorod to Ethiopia.
"Bowed Instruments" also seems obvious. But discussion of those instruments takes us instantly and seamlessly into others of discussions - for example, the history and practices of musical modes; the relation with the singing voice, the traditions and rituals connected to them.
The idea is to collect here information and elements to develop a common reflection on these themes and promote the knowledge and exchange of good practices around these instruments.
Instruments
Instruments
Materiality in music expresses itself through music instruments: understanding them means to understand the music that is played with them.
Modes
Modes
Through music theory, the mind tries to grasp the essence of music. A reflection on how thought approaches musical phenomena is key to the understanding of music as a living thing.
Traditions
Traditions
Music instruments are always inserted in a social context: they have agency, promoting or even causing interactions between humans and they can become symbols of identity for a culture.
Festa!
Festa!
We play, we talk, we sing, we dance. We shall use this this page for postings interesting events involving the Mediterranean Bowed Instruments. Conferences, concerts, camps, festivals etc.
We have created this as an open discussion list for all persons having an interest in the bowed musical instruments of the Mediterranean. Our intention is to develop a multi-disciplinary approach, so the list is open to contributions coming from historical musicology, ethnomusicology, historically informed performance, music iconography, organology and other relevant fields. To join our mailing list, click here
Last updated: 6.xii.2021
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