24 JUN. 2024 · Who are the Moroccan professional female singer-dancers (shikhat) from the rural Atlantic plateau? And what the Moroccan migrants in Italy, in particular the community of workers in Umbria, listen to? These and many other questions arise from the fieldwork experiences of Alessandra Ciucci in Morocco and Central Italy on the waves of the harsh sound of the ‘aita and the ‘abidat r-rma musical traditions. To explain the role of the female entertainers and the social environment where they came from, and to investigate what the community of Moroccan workers of Umbria like to listen to during their leisure time, she uses differents tools crossing ethnomusicology, popular music, gender and post-colonial studies. About Alessandra Ciucci Alessandra Ciucci is Associate Professor of Music (Ethnomusicology) at Columbia University. She received a PhD in music (ethnomusicology) from the City University of New York at the Graduate Center. Her research interests include: the music of Morocco, the Maghreb, the Mediterranean, gender and sexuality, sung poetry, popular music of the Arab world, and music and migration. Her first book, The Voice of the Rural (University of Chicago Press, 2022), explores the significance and the endurance of a specific notion of the rural (l-'arubiya), in music, poetry and the voice among migrant Moroccan men in the Umbria region of Italy. This Monograph interrogates how the idea of l-'arubiya, which is entangled with a sense of place, longing and belonging, becomes particularly meaningful in Italy where it articulates a personhood rooted in a masculinity that is denied to Moroccan men though their labor and migratory status. https://www.uni-med.net/wp-content/uploads/2024/06/Alessandra_Ciucci_.pdf Discography of the episode https://archive.org/details/FatnaBentLhoucine/F.b.+L'Houcine+-+Kh.+Laabdia+-+Donna+-+Si+Jelloul+-+HADIK+MUIMTI.mp3 Fatna bent l-Houcine   https://archive.org/details/khadijaAlBidawiya/khadijaAlBidawiya-intro.Mp3 Khadija Al-Bidawiya   https://archive.org/details/FatnaBentLhoucine/F.bt.Lhoucine-O.+b.+Aguida+-+KHARBOUCHA+6+vers.cd.mp3 Fatna bent l-Houcine & Ouled Ben Aguida   https://archive.org/details/BouchaibBidaoui/B.+Elbidaoui+-+Kibbou+-++B.+Znaiga-FINA+HOUMA.mp3 B. Elbidaoui - Kibbou - B. Znaiga   https://archive.org/details/FatnaBentLhoucine/F.bt.Lhoucine-O.+b.+Aguida+-+KHARBOUCHA+6+vers.cd.mp3 Fatna bent l-Houcine & Ouled Ben Aguida   Aita  Ouled Ben Aguida with Hafida Hasnaoui e Aicha Nouni. "l-Aloua". Wedding Celebration July 2003 (Alessandra Ciucci field recording at a wedding party, men and women were present)   https://archive.org/details/FatnaBentLhoucine/F.bt.Lhoucine-O.+b.+Aguida+-+KHARBOUCHA+6+vers.cd.mp3 Fatna bent l-Houcine & Ouled Ben Aguida   https://archive.org/details/khadijaAlBidawiya/khadijaAlBidawiya-elAid.Mp3 Khadija Al-Bidawiya   Abidat r-rma  Shikh l-Bachir. "l-Ghaba"   https://archive.org/details/khadijaAlBidawiya/khadijaAlBidawiya-elAid.Mp3 Khadija Al-Bidawiya   Abidat r-rma  Shikh Sharqi. Wedding Celebration. July 2017 (Alessandra Ciucci field recording at a wedding party for men only. Audio of a video of Shikh Sharqi where he plays scissors and musicians around him imitate the sound of hunters and dogs chasing prey). Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.

23 MAY. 2024 · This episode will let us travel in the Balkan Area and beyond, following minorities and migration flows. The definition of the so-called "applied ethnomusicology" intersects with various activities that include study and research in a dimension where theory and practice are not separated but converge in the realization of different kind of projects.   Doing field research and work in contexts of tension and conflict is one of the main challenges of recent history for those who work in an intercultural perspective. The globalised era, such as the one we are living in, continuously questions the certainties of the discipline studying “local” musical cultures, which often belong to minority communities.   For Svanibor Pettan, interviewed for this episode, it was pivotal being born in Croatia and having lived in the Balkan area, a region affected by war and conflict. His attention towards minorities and, more recently, towards migrants and refugees is an example demonstrating the social function of ethnomusicology engaged in dissemination and cultural mediation.    About Svanibor Pettan Svanibor Pettan is Professor and Chair in ethnomusicology at the Faculty of Arts, University of Ljubljana, Slovenia. His academic degrees are from the Universities of Zagreb, Croatia (B.A.), Ljubljana, Slovenia (M.A.), and Maryland, USA (Ph.D.), while his past and present fieldwork sites include central and southeastern Europe, Australia, Egypt, Norway, Sri Lanka, Tanzania, and the USA. His principal research topics are music and politics on a war-peace continuum, music and minorities, applied ethnomusicology, and institutional history of ethnomusicology. His professional career includes full-time posts as radio editor, scholar in a research institute, and professor at a music academy, department of ethnology and cultural anthropology, and department of musicology. As pedagogue, he shaped the study of ethnomusicology in Slovenia from bachelor's to doctoral level, served as a visiting professor at 12 universities, currently in Maribor, Vienna, and Zurich, and gave over a hundred invited lectures in 40 countries. He is the President of the International Council for Traditions of Music and Dance (ICTMD, the leading international association of ethnomusicologists and ethnochoreologists worldwide) and as Chair of its Study Group on Music and Minorities. Discography of the episode Gizdava (traditional arranged by Barbara Pešut)  from CD Katice: Jungfraua, Men Art /Dom Svobode (2001). Courtesy of Tanja Drašler of Katice to Svanibor Pettan Vrabec (composition by Hubert Pettan - Svanibor Pettan’s father)  from CD Hubert Pettan: skladatelj/composer, Cantus 98905200092 (2012) Viva kemija (composition by Danijel Veličan) from home cassette recording of Svanibor Pettan’s school band Vještice (1971)  Amerika (traditional) Svanibor Pettan’s field recording of the song performed by Franjo Kirin and his family in their home in the Gradišće village in Croatia (1981)  Ko zbrani gremo vsi skoz vas (traditional) from CD Slovenie: Musiques et chants populaires, Ocora Radio France C 600007 1997 (recording of Radio Slovenija 1975-1995). Courtesy of Teja Klobčar, editor at Radio Slovenija, to Svanibor Pettan.  Zapevala sojka ptica (traditional) Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001)  Mravac muvu isprosio (traditional) Svanibor Pettan & Radio Zagreb’s field recording of a song by Serbian minority performers from the village of Blinja in central Croatian Banija/Banovina region in style na glas, on LP record Narodne pjesme i plesovi iz Banije 3, ULP-2464 (1989) Praising song for ICTM (International Council of Traditional Music) composition and performance by Lasanthi Manaranjanie Kalinga Dona - Svanibor Pettan’ wife in Vienna at celebratory transfer of the International Council of Traditional Music headquarter from Ljubljana to Vienna (2017)  Gizdava (traditional arranged by Barbara Pešut) from CD Katice: Jungfraua, Men Art /Dom Svobode (2001). Courtesy of Tanja Drašler of Katice to Svanibor Pettan  Mastika (traditional) Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001)  Ilahija (traditional) Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001)  Ati rahegi baharen (Indian film song) Svanibor Pettan’s field recording - performed by the ensemble of Agim Hadri (singer is Faton Lugbunari) from Gjakova, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001)  Lament (traditional) Svanibor Pettan’s field recording, from CD-ROM Kosovo Roma, Nika/Arhefon af 01 (2001)  Mravac muvu isprosio (traditional) Svanibor Pettan & Radio Zagreb’s field recording of a song by Serbian minority performers from the village of Blinja in central Croatian Banija/Banovina region in style na glas, on LP record Narodne pjesme i plesovi iz Banije 3, ULP-2464 (1989)  Sedam zvijezdi (traditional) Svanibor Pettan & Radio Zagreb’s field recording of a song by Serbian minority performers from the village of Blinja in central Croatian Banija/Banovina region in style na bas, on LP record Narodne pjesme i plesovi iz Banije 3, ULP-2464, (1989)  Moj dilbere (traditional) by Bosnian-Norwegian ensemble Azra, recorded in a refugee camp in Norway in 1995 by Norwegian Television (NRT)  Gott erhalte (Kaiserlied) (composition by J. Haydn) the Austro-Hungarian national anthem, Svanibor Pettan’s field recording of the performance of his grandmother Slava Pettan in German (1986)  Gott erhalte (Kaiserlied) (composition by J. Haydn) the Austro-Hungarian national anthem, Svanibor Pettan’s recording of performance of his grandmother Slava Pettan in Croat (1986)  Dove tu vai Luigi (traditional) from CD Slovenie. Musiques et chants populaires, Ocora Radio France C 600007 1997 (recording of Radio Slovenija 1975-1995). Courtesy of Teja Klobčar editor at Radio Slovenija to Svanibor Pettan  People singing and dancing "Janna, Janna, Janna" during a protest – Thessaloniki – 01.09.2016, recorded by Ioannis Christidis Gizdava (traditional arranged by Barbara Pešut) from CD Katice: Jungfraua, Men Art /Dom Svobode (2001). Courtesy of Tanja Drašler of Katice to Svanibor Pettan  _Special thanks to Serge Noël-Ranaivo, Ocora Radio France label Coordinator_ Disclaimer  Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.

22 ABR. 2024 · In the beginning it was plainchant with its different forms, many of which were replaced by the Gregorian chant where the Gallican and Roman traditions merged. It is to all this variety of dialects of the Christian liturgical chant - from Ambrosian to Mozarabic - that Marcel Pérès has dedicated his life as a singer and researcher. With his Ensemble Organum, created in 1982, Pérès has explored the nuances and accents of traditions handed down through the first forms of musical notation but also partly alive in oral transmission, especially in monastic practice.It is to the forms of singing of the oral tradition of the Mediterranean world that the musician, born in Oran (Algeria), turned to seek inspiration for the intonation of the divine word of the different liturgical families of Christianity, interpreting in a personal way the sources of primordial neumatic notations and infuse them with the vital breath of the voice that arises not only from the body movement but also from the movement of the soul.In his vision, the term neuma, the sign of musical writing, is indissoluble from the breath, pneuma, which adorns plainchant, one of the main roots of the history of music in the West and also part of the music of the Near East. About Marcel Pérès After studying organ and composition at the Nice Conservatory, Marcel Pérès continued his training in Great Britain and Canada. Returning to Europe in 1979, he specialized in medieval music. In 1982 he founded the Ensemble Organum, and undertook with them a methodical exploration of medieval liturgical repertoires, which resulted in international acclaim. He recorded about fifty discs - most of which have received the highest awards: the Diapason d'or, Classical Awards, Choc de l'année du Monde de la Musique, and the New York Times’ Essential Records of the 20th Century. https://www.uni-med.net/wp-content/uploads/2024/04/Marcel-Peres.pdf Discography of the episode Spanish Singers, Sanctus Marcel Pérès live recording Ensemble Organum: Antiphona Alleluia. Psalmus 112 Laudate pueri from: Chants de l'Église de Rome Vêpres du jour de Pâques, Harmonia Mundi (1998) Ensemble Organum: Gloria in excelsis Deo from: Chant Mozarabe Cathédrale de Tolède (XVe siècle), Harmonia Mundi (1995) Ahmed Saher: Allaho akbar from: In memoria eterna, Harmonia Mundi (2021) Ensemble Organum: Rachid El Mazzaoui: In memoria eterna - Homo al l’jibalo from: In memoria eterna, Harmonia Mundi (2021) Ensemble Organum: Prosule Tarakto baba arraja from: In memoria eterna, Harmonia Mundi (2021) Ensemble Organum: Deo gratias from: Machaut Messe de Notre Dame, Harmonia Mundi (1996) Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.

22 ABR. 2024 · In the beginning it was plainchant with its different forms, many of which were replaced by the Gregorian chant where the Gallican and Roman traditions merged. It is to all this variety of dialects of the Christian liturgical chant - from Ambrosian to Mozarabic - that Marcel Pérès has dedicated his life as a singer and researcher. With his Ensemble Organum, created in 1982, Pérès has explored the nuances and accents of traditions handed down through the first forms of musical notation but also partly alive in oral transmission, especially in monastic practice.It is to the forms of singing of the oral tradition of the Mediterranean world that the musician, born in Oran (Algeria), turned to seek inspiration for the intonation of the divine word of the different liturgical families of Christianity, interpreting in a personal way the sources of primordial neumatic notations and infuse them with the vital breath of the voice that arises not only from the body movement but also from the movement of the soul.In his vision, the term neuma, the sign of musical writing, is indissoluble from the breath, pneuma, which adorns plainchant, one of the main roots of the history of music in the West and also part of the music of the Near East. About Marcel Pérès After studying organ and composition at the Nice Conservatory, Marcel Pérès continued his training in Great Britain and Canada. Returning to Europe in 1979, he specialized in medieval music. In 1982 he founded the Ensemble Organum, and undertook with them a methodical exploration of medieval liturgical repertoires, which resulted in international acclaim. He recorded about fifty discs - most of which have received the highest awards: the Diapason d'or, Classical Awards, Choc de l'année du Monde de la Musique, and the New York Times’ Essential Records of the 20th Century.  https://www.uni-med.net/wp-content/uploads/2024/04/Marcel-Peres.pdf Discography of the episode Ensemble Organum: Kyrie from: Machaut Messe de Notre Dame, Harmonia Mundi (1996) Francesco Cera: Messa Della Madonna – Christe from: Girolamo Frescobaldi Toccate – Capricci – Fiori Musicali, Arcana (2019) Ensemble Organum: Office des lectures - III. Gloria in excelsis Deo from: Chant Mozarabe, Harmonia Mundi (1995) Francesco Cera: Messa Della Domenica - Canzon Dopo l'Epistola from: Girolamo Frescobaldi Toccate – Capricci – Fiori Musicali, Arcana (2019) Ensemble Organum: Sanctus from: École Notre-Dame Messe Du Jour De Noël, Harmonia Mundi (1985) Ensemble Organum: Kyrie from: Chant Corse Manuscrits Franciscains (XVIIe-XVIIIe Siècles), Harmonia Mundi (1994) Corsican Singers, Mamma risponde nun posso Marcel Pérès live recording Spanish Singers, Sanctus Marcel Pérès live recording Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.

21 MAR. 2024 · La langue musicale du MAQÂM et ses éléments clés is the third episode of https://www.uni-med.net/publications/mediterranean-intangible-heritage-sounscape-unimed-podcast/, and is in French. At the source of the different musical cultures flowing into the Mediterranean world is what Nidaa Abou Mrad calls a modal monodic "language", with its different "dialects". In the Mashreq, the musical system defined by the term maqâm, represents a great transnational tradition of ancient origin and still alive. Between the end of the 19th century and the beginning of the 20th, this tradition was reinvigorated thanks to masters and singers active in Egypt who - on a musical level - contributed to the artistic rebirth and intellectual awakening of the Mashreq, known - from an historical point of view - as Nahda. Through intense concert activity, study and analysis, Abou Mrad - interviewed in this episode - has illustrated in depth the nature of the maqâm musical system, researching its roots in ancient musical civilisations, to underline the importance and value of this heritage.  About Nidaa Abou Mrad Nidaa Abou Mrad, professor of Musicology and musical doctor, is the Dean of the Faculty of Music and Musicology and the Director of the Research Centre on Musical Traditions at the Antonine University in Lebanon. He authored Éléments de sémiotique modale, an essay on generative grammar for monodic traditions, for which he won the CNRS-L Annual Research Excellence Award in 2017. He has published forty articles on the musical traditions of Mashreq and twenty CDs where, with the Ensemble of Arabic Classical Music, he performs on the violin (in an improvisatory way) sequences from the literate musical tradition of Mashreq and some of his own traditional modal compositions. Discography of the episode Taqsim bayyati Nidaa Abou Mrad in Waṣalāt Parcours Instrumentaux de la Renaissance Arabe (2010) Taqsîm en Maqâm Râst Fawzi Sayeb in Fawzi Sayeb in Concert Master of the taqsîm, Byblos (2001)  Chant rūm orthodoxe en arabe de Pâque « Inn al-Malāk » Dimitri Koutiyya  Hymne hourrite Rafka Rizk in 4000 ans de musique au Levant, Ensemble de musique classique arabe de l’Université Antonine (2018) Prélude & chant abbassides Mohammad Ayach in 4000 ans de musique au Levant, Ensemble de musique classique arabe de l’Université Antonine (2018) Mawwāl & Taqtūqa (Musique populaire / Egypte) in Congrès du Caire 1932, Institut du Monde Arabe / Bibliothèque Nationale – France (1988) Yā leyl maqām Nahāwand Cheikh Yūsuf Al-Manyalāwī (78 tours)  Samâ'î Râst Ensemble de Musique Classique Arabe in Waṣalāt parcours instrumentaux de la Renaissance arabe (2010) Muwaššaḥ Wal-laḏī askara Cheikh Sayyid a-ṣ-Ṣafṭī (78 tours) Yā leyl et Dōr Kādnī l-hawā maqām Nahāwand Cheikh Yūsuf Al-Manyalāwī (78 tours)  Mawwāl Bi-kulli marsūm Cheikh Yūsuf Al-Manyalāwī (78 tours) Qaṣīda Ukaḍḍibu nafsī maqām Sīkāh Cheikh Yūsuf Al-Manyalāwī (78 tours)  Dârij Bayyâtî Ensemble de Musique Classique Arabe in Waṣalāt parcours instrumentaux de la Renaissance arabe (2010)     Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.

22 FEB. 2024 · This episode will let us travel in the Bosnian musical tradition, and in particular in the city of Sarajevo. Unrequited love is the fuel of the melancholic fire that burns in the heart of the Bosnian urban song of Sarajevo. Longing, desire, jealousy are the main subjects of the lyrics of the sevdah that has its roots in the Ottoman era and more generally in the Near East musical sensibility. Damir Imamović, interviewed in this episode, is a new generation singer and composer with a deep knowledge of the traditions of this heritage that represents the sounding soul of the city. He grew up in a family of musicians and he is the nephew of the prestigious and beloved Zaim Imamović one of the historical protagonist of the sevdah scene of the 20th century. About Damir Imamović Damir Imamović is a musician, a singer and a composer from Sarajevo. He works on Bosnian traditional music and in particular on Bosnian love song, called sevdah. Growing up in a family of sevdah bards, Damir was immersed in the world of Balkan traditional music at a very young age. He started tracing his own path in sevdah in the early 2000s. Damir’s art is deeply rooted in his research and educational work. Apart from his performances, Damir teaches within his own SevdahLab project. More information about Damir Imamović is available here http://en.damirimamovic.com/about. Discography of the episode Intro Damir Imamović in Sevdah Takht Sarajevo Damir Imamović in Dvojka, Glitter Beat Okreni se niz djul bascu (Hamid Dizdar - Isak Samokovlija) Zaim Imamović available on Sevdah Treasure Soundcloud page https://soundcloud.com/semir-vranic/zaim-imamovic-okreni-se-niz-dul-bascu Pokraj Save bagrem drvo raste (traditional) Emina Zečaj and Selim Salihović available on Sevdah Treasure Soundcloud page https://soundcloud.com/semir-vranic/emina-zecaj-pokraj-save-bagrem-drvo-raste https://www.youtube.com/watch?v=pddvtcx0nVk Izidji der Fato (traditional) Zaim Imamović and Alajbegović-Petković available on Sevdah Treasure Soundcloud page https://soundcloud.com/semir-vranic/zaim-imamovic-izidi-der-fato-prvi-snimak https://www.youtube.com/watch?v=asrU2PSHN_0 Ženi majka na silu Omera (Mother forced Omer into getting married) Rasema Katama available on Sevdah Treasure Soundcloud page https://soundcloud.com/semir-vranic/blago-iz-naseg-arhiva-rasema-katana-nezic Novo fado da Severa (Frederico de Freitas) Dina Teresa available on Museu do Fado website https://arquivosonoro.museudofado.pt/interprete/184/dina-teresa Rado, Kćeri Rado (traditional / D. Imamović) Damir Imamović Trio in Abrašević Live Snijeg pade na behar na voce (traditional / arr. Ante Gelo and Boško Jović) Amira Medunjanin and Zagrebački Solisti Live concert in Zagreb https://www.youtube.com/watch?v=UjrGAgLstGg Lijepa Mara (based on Emina Zečaj version) Damir Imamović in Dojka, Glitter Beat Je li rano (traditional / D. Imamović) Damir Imamović in Dojka, Glitter Beat Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.

22 ENE. 2024 · This episode will let us travel in the Syrian musical tradition, and in particular in Aleppo's ones. Jonathan Holt Shannon, interviewed for this episode, traces an historical excursus in the traditional music ending up in the contemporary Syrian scenario affected by the war and consequent migrations. When Shannon's book Among the Jasmine Trees: Music and Modernity in Contemporary Syria was published in 2006, Aleppo was still the Syrian musical city par excellence, famous for having been able to preserve its precious traditional musical heritage. In this episode, recorded before the tragic earthquake of 6 February 2023, the anthropologist and ethnomusicologist - who spent a long time in Syria - explains the cultural and musical importance of this city in the context of the Arab world, and talks about his field research and the meetings with musicians before and after the dramatic civil war that forced a large part of Aleppo's population into exile. About Jonathan Holt Shannon Dr. Jonathan H. Shannon is a professor at the Department of Anthropology of Hunter College of New York. He teaches courses in the anthropology of music and the arts, as well as Middle East studies, food, culture and politics. He is a Guggenheim fellow and has authored two influential monographs on Middle Eastern music. His research focuses on musical cultures of the Arab world and Mediterranean with a special focus on Syria, Morocco and Spain. Dr. Shannon's more recent research focuses on the music of Syrian refugees in Turkey, Germany and Sweden. Discography of the episode Qadd Yallah Sawa Al Turath Ensemble da Jardines de Jazmín, Pneuma PN 310 (2001) (Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA) Samai hozam (traditional) Al Turath Ensemble from Jardines de Jazmín, Pneuma PN 310 (2001) (Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA) Habibi ala al’Dunya Sabah Fakhri from Sabah Fakhri Au palais des congrès, Polydor 2672 055 / Alep Disques 2672 055 (1978) https://www.youtube.com/watch?v=oxJ4dolAttg Ana fi intizarak (Zakarya Ahmad – Bayram Tunsi) Umm Kulthum https://www.youtube.com/watch?v=yYZG-ihqnDc Taqsim for ‘ud recorded by Jonathan Shannon (2021) Dulab Hozam (traditional) Al Turath Ensemble from Jardines de Jazmín, Pneuma PN 310 (2001) (Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA) Layali (unmetered modal improvisation) Mohammed Hamadye recorded by Jonathan Shannon in Istanbul, January 2019 Yamorro Oujban (Omar al-Batsch – arranged by Göksel Baktagir) From Aleppo To Istanbul Project (live recording 2019) https://www.youtube.com/watch?v=8wuoPKDqdW8 Samai hozam (traditional) Al Turath Ensemble from Jardines de Jazmín, Pneuma PN 310 (2001) (Música editada por Eduardo Paniagua aparece por cortesía de PNEUMA) Golden Flowers by Ajam quartet Composer Or Rozenfeld. Ajam quartet are an active band from Berlin Website: https://www.ajamquartet.com/ Mshaweerak Bilfada (Nour Yamm) https://www.youtube.com/watch?v=xiEPRv5Cq8M http://bit.ly/40FpK7b http://bit.ly/391pVQI http://bit.ly/2saIPno http://bit.ly/2tzaTBi Dhikr recorded by Jonathan Shannon at Othmaniyya Mosque in Alep (2006) Zakhrafa (Samer Ali) Takht al-Nagham (live recording 2019) https://www.youtube.com/watch?v=n6VjsvT6o3s More information https://syrianmusic.org/ Between the Strings (Diab Mekari - Arif Altunkaya) Diab Mekari https://www.youtube.com/watch?v=ygwQIBpzvZY ℗ Planet East (Royalty free - Music For Your Videos) Disclaimer Mediterranean Intangible Heritage Soundscape is a podcast by Paolo Scarnecchia, produced by UNIMED, Mediterranean Universities Union. Musical works included in the Podcast are used for purpose of illustration for teaching, and not for commercial purposes.