An afternoon workshop and evening lecture/recital by musician, writer and teacher Marc Loopuyt on Muslim, Jewish and Christian music of Medieval Spain, focusing on the rabab and the oud, and on articulation techniques. Articulation in stringed musical instruments from the East will be put in relation with Paganini’s Suonare Parlante, with bird song and the mythical language of the birds.
Workshop: 2.00-4.00pm (max. 20 participants: may be booked separately)
Lecture/recital, followed by a reception: 5.00-7.30pm
The workshop will focus on the practical foundations of traditional mode-based improvisation and ornamentation, engaging with the basics progressively and as a group. Participants will be introduced to basic sequences and rhythmic modes, and to the medieval and Oriental styles of rhythmic scansion; they will then engage as a group in the development of a melody based on the modes. There will be imitation practice on short improvised phrases, and phrasing dialogue, reflections on the conformity to a melodic mode, and progression towards a classification of modes. No prior experience or practice in music is required, but, in keeping with Oriental musical traditions, the workshop as it progresses will respond to the interests and backgrounds of the participants.
Participants are welcome to bring their own instruments - esp. percussion - or just your body and voice.
Born in France in 1947, with French, Dutch, English and Caucasian roots, Marc Loopuyt discovered the flamenco guitar via immigrant Spanish workers, and subsequently spent three years in Spain learning how to play it. Interested in the strong “colours” in flamenco singing, he crossed the Mediterranean and settled for nine years in Morocco, learning to play the oud. Attracted by the art of the Turkish master Cinuçen TanrÄ±korur, he became his disciple and spent many years travelling and living in Turkey and the Middle East, as well as staying for one year in Azerbaijan with the singer Agha Karim Bey. Marc Loopuyt taught for 25 years in the Music Conservatory of Lyon, and has published, performed and recorded widely. Click here for an excerpt from his flamenco-influenced piece Farruca
Supported by the Cassal Trust, the Matheson Trust for the Study of Comparative Religion