مؤسسة الشرق الأوسط للنشر العلمي
عادةً ما يتم الرد في غضون خمس دقائق
Our article examines the role of technical supports — records, radio, television, digital platforms — in transforming the processes of musical creation in the Arab world. Through a mediological perspective, particularly based on the work of Régis Debray and Said Yaqtin, we aim to go beyond the classical opposition between musical content and transmission vectors, to consider the medium as a fully-fledged aesthetic and symbolic actor. The study relies on a multidisciplinary methodology, crossing musicology, semiology, and media studies, to analyze the effects of media on the form, structure, memory, and reception of musical works. Our work explores successively: 1. The standardization of musical taste under the influence of state dissemination media; 2. The mutation of the studio into a sound co-creation space; 3. The emergence of hybrid genres (dialectal rap, electro-chaabi, fusion) born from the digital environment; 4. The reconfiguration of the traditional repertoire through recording and remixability; 5. The construction of a technological sound memory through digital archives; 6. Finally, the dialectic between heritage preservation and cultural transformation in conservation logics. The article concludes with the necessity of a conceptual apparatus specific to Arab musical mediology, in order to better grasp the interactions between creation, technology, and heritage. It proposes a cross-approach capable of thinking about new forms of heritage building, media presence, and musical innovation in contemporary Arab societies.