Turkestan chinois, LE MUQAM DES DOLAN - Document sans titre ...

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strings and two single strings for low notes. These metal strings are plucked with the right hand with a long plectrum of soft wood, while the left hand plays ornaments, vibratos and glissandos by sliding the tuning key over the strings. Frame drums dap are played by the singers. The muqam dolan is in the form of vocal and instrumental suites and, as in most of the traditions of the Turkic-Arab-Persian cultural area, each of these suites is played in one of the nine musical modes: Bash Bayawan, Zil Bayawan, Chöl Bayawan, Ötang Bayawan (also called Ongamet), Hudek Bayawan, Dugamet Bayawan, Bom Bayawan, Sim Bayawan and Jula which is always played last. Each suite is composed of four or five parts which are played one after the other without interruption: muqaddima, an unmeasured vocal introduction; chikitma, a piece in 6/4; sanam, a piece in 4/4; saliqa, a piece in 4/4; serilma, in 4/4 or 5/8. In playing, the singers and musicians have wide latitude for interpretation, which explains the very heterophonic character of this music mentioned above. This freedom is also to be found in the choice of poetic texts. The poems are drawn from a body of oral poetry and are not chosen in advance but rather spontaneously launched by the solo singer in the form of stanzas (distiches of two hemistiches, according to a model found almost everywhere in the Middle East and in Central Asia) which are organized – 20 – according to the inspiration that arises in the moment without any real thematic continuity. It is therefore not unusual for some stanzas to be repeated during the muqam. The recurring theme of this poetry is unrequited or frustrated love, which has always been an essential source of inspiration among Oriental poets. In conclusion, it can be said that the musical and poetic interpretation of the muqam dolan is a bit like a set of Lego. All of the musicians know the rules for putting them together so well that the initiative of a leader is enough to generate the construction of the muqam in real time, always similar but never identical. It is probably this, even more than the energy that this music generates, that leads to the comparison with jazz. These recordings were made in Paris during concerts that the musicians gave at the Maison des Cultures du Monde on March 31 and April 1 and 2, 2005 at the ninth Festival de l’Imaginaire. The musicians are from the district of Yantak, near the City of Makit, in the western part of Taklamakan, and all of them were trained in traditional ways, i.e. outside of any academic structure. Some of them are so famous that the local authorities have erected statues of them in the central squares of their cities. The twins Huseyn Yahya and Hasan Nuri (born in 1941) have been living in the universe of the muqam dolan for more than half a century. Huseyn is the lead singer (muqamqi) and Hasan plays
the spike fiddle ghijak dolan. Abduljlil Ruzi (1934) plays the zither qalun; he also makes qalun and rawap. Ahat Tohti (1950) has been playing the rawap since he was twelve. Supi Turdi (1946) belongs to the fourth generation of a great family of muqamqi; he sings, 1. Bash bayawan muqam Muqaddima I must leave today So let me say to you: Alone, without my sweet beloved, I will go to the desert to weep tears of blood. What will be my fate? Must I lie down on the embers? Tangled up in the scandal mongering of my enemies Will I lose my beloved? If I die, my name will be extinguished. The wind will blow in my head. All my relatives will come To cry at my grave. Sanam Did you just come to see me, To set my heart on fire, Or else To rekindle the flame that went out? THE PIECES – 21 – plays the dap and dances with a virile and humorous style. Muhammad Mutallip (1965) sings and plays the dap, he is also the director of the Yantak cultural site and has been working for many years to protect the Dolan cultural heritage. We are getting ready to leave, Will you come with me, my love? If you want to go ahead of me Take joy and smiles with you. Saliqa Why did you set fire To the whistling reeds? Why must we dance at the mashrap While love tears us apart? Serilma O Universe, have you no pity? You, who made this world hell! 2. Zil bayawan muqam Muqaddima From high up in the hills I contemplated my love’s bedroom. Even after my death The wound that your love made in my head will remain wide open.
Page 1 and 2: Turkestan chinois LE MUQAM DES DOLA
Page 3 and 4: Turkestan chinois LE MUQAM DES DOLA
Page 5 and 6: manche long différent du rawap ou
Page 7 and 8: Serilma Ô toi, Univers, n’as-tu
Page 9 and 10: Tu ne trouveras jamais d’homme qu
Page 11 and 12: Saliqa Si je plonge la rose et la g
Page 13 and 14: Huseyn Yahya - 13 -
Page 15 and 16: Ahat Tohti, rawap - 15 -
Page 17 and 18: Abduljlil Ruzi, qalun - 17 -
Page 19: of them and there are very few stud
Page 23 and 24: Imbeciles don’t know The pain of
Page 25 and 26: Saliqa In the orchard, the hazelnut
Page 27 and 28: Sanam O woman, come closer, Your em
Page 29: Turkestan chinois LE MUQAM DES DOLA

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