CHANGES IN THE ALGERIAN SANʿA TRADITION AND THE ROLE OF THE MUSICOLOGIST IN THE PROCESS

Abstract

The sarta is a vocal kind of music, which originated in the Arabic musical tradition of Spain during the Middle Ages. Since then it has been practiced during many centuries in the different cities along the Mediterranean coast of Algeria. This Algerian tradition is related to the Tunisian Ma'l?f and the Moroccan ?ia. Characteristic of the repertory is the symmetrical and regular musical form of the compositions, the use of contrafacts, and the suite-like order in which the compositions are performed. This order is generally called the nawba. During the 20th century the sarta tradition has been subjected to a great number of changes. A few of them will be discussed in this paper. The first change concerns the socio-cultural setting of the music, the second concerns the performance practice, and the third the idiom itself. The last mentioned change affects in some way the work of the musicologist collecting and transcribing the repertory. A short discussion of the role of the musicologist and his work in relation to the changes of the idiom will therefore conclude this paper. Let us start with the discussion of the socio-cultural setting. Traditionally the sarta is performed mainly during all kinds of family celebrations (such as marriages, engagements, and circumcisions) of the local aristocracy and the high class bourgeoisie. The music is played by professional ensembles, which are hired for high remunerations. These ensembles perform also in public places such as in coffee houses, but both musically and economically these latter performances are less interesting. In the course of the 20th century the traditional role of the sarta has become less important. The colonisation and subsequent influence of