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Amine Beyhom Dossier: Occicentrism in musicology (V2) 53 Dossier: Hellenism as an Analytical tool for Occicentrism (in musicology) Amine Beyhom ? F OREWORD 1 It has been over twenty-five years since I have researched maqām 2 music 3 , notwithstanding research ? Amine Beyhom is redactor in chief of NEMO-Online and director of the CERMAA (Centre de Recherches sur les Musiques Arabes et Apparentées), a research center affiliated to the FOREDOFICO foundation in Lebanon. 1 This is an emendated and slightly augmented version (V2) of the dossier published in November 2016. My heartfelt thanks go to Rosy Azar Beyhom and to Richard Dumbrill, the first and the last having emendated the original text and helped improving it. My thanks also to Jean During and fr. Romanos Joubran who gradually reviewed the chapters and appendices of the initial version, as well as to Martin Ralph Jaeger who got the first draft in the summer of 2016. 2 I use the term maqām in this dossier in its wider, multifarious acceptation as defined for instance in [Bohlman, 2001, §IV]: ?The modern term maqām refers to both the larger system of melodic practices in Arabic-, Persian- and Turkish-speaking cultures, and to the entity of a single mode itself. Despite its centrality in Middle Eastern music theories and its extensive history, maqām exhibits more conceptual flexibility and exists in more different forms than the other major modal systems. Interpretations of maqām differ from region to region in the Arab world and among individual performers. There is considerable flexibility and diversity in the identification of a single maqām ? a scale with a full complement of notes within the span of an octave or more or a smaller unit, such as a tetrachord, or a melodic motif or a repertory-specific formal procedure ? marks performing practice?. Moreover, the term maqām relates in this dossier, unless differently stated, with traditional maqām music, be it Popular or Artistic, i.e. (and roughly) before post-conference of Cairo (1932 ?Congrès du Caire?) changes (Occidentalization) interfered massively with this music. 3 These include my pre-Academic research on (what I called then) ?Arabian music?, noticeably with mentors like the late Bernard Moussalli who taught me to question musicological writings (and their authors), and whom I would like to thank posthumously here. in other fields such as European traditional, particularly Breton music 4 . However, it is not until I probed deeply into Byzantine chant and its theories of the 19 th century 5 that I finally reached the conclusions put forward in this dossier. Working on Byzantine chant was an eye-opener 6 which explained the litany of misunderstandings, contradictions, obvious errors and allegations made in bad faith in maqām literature, some of which I have already mentioned in previous publications and papers 7 . What remained inexplicable for me, for over two decades, was the reason 8 why (and how) all of these errors could be made in the first place, in such a domain that is still 9 today considered as the ?science? of music 10 : the answer to this question is the main object of this dossier 11 . 4 Although I have been interviewing, for more than two decades, prominent actors (musicians, singers, cultural ?activists?) and attending many concerts and musical events, I never published extensively in this field of research; my contribution can be found in [Beyhom, 2008a] and, as an example of statistical processing of tonometric measures (pitch measurements), in [Beyhom, 2015b, p.?258?263]. 5 See [Beyhom, 2015b]. 6 And is intended as such in this dossier, which explains the extended length of the fourth chapter dedicated to Byzantinism. 7 See for instance [Beyhom, 2006a?; 2007a?; 2007b?; 2007c?; 2007e?; 2009?; 2010c?; 2011?; 2012?; 2013?; 2014b]: all the articles of the author and an emendated version of the book [Beyhom, 2010c] are available for free download at http:// foredofico.org/CERMAA/publications/publications-on-the-site/ publications-amine-beyhom and http://foredofico.org/CERMAA/ ?attachment_id=482. 8 ?The reasons? would have been perhaps more relevant, here and in a general fashion, as different musicologists, musicians or music theoreticians may have different reasons for different opinions or beliefs, but the errors I pinpoint in this dossier have one single, general cause as explained below in the text. 9 And even more. 10 Although I felt, having read Edward Said?s Orientalism in my early twenties (in the French translated version [Said, 1980] that I still have in my personal library), that Orientalism could have played a role in this process, without knowing however how, exactly. 11 Which is an extension of my preliminary exploration of the consequences of Romantic Hellenism and Musicological Orientalism on Byzantine chant and maqām music undertaken in [Beyhom, 2015b, p.?479?517] as well as, indirectly, in other publications or papers ? cited in footnote 7 ? dealing with such ?errors?.