La bimusicalidad a través de la música transcultural: Adaptación de los modos musicales del Haul en la música saharaui

Abstract

This article reports on the importance of studies that bring together the participation of ethnomusicologists in transcultural music with respect to the concept of bi-musicality. While previous studies of cross-cultural music focus on the representative character of fusion music in a global or national context, this article examines the internal process of composition of transcultural music through the experience of the author as participant-observer in Saharawi music in the camps of refugees from Western Sahara, in the Hamada desert in Algeria, and in Spain since 2004, as well as his participation as a composer and arranger of the last album by Mariem Hassan (1958–2015), El Aaiun Egdat (2012), and his experience as a guitarist with the Saharawi singer from 2012 to 2014. This article proposes that the concept of bi-musicality is very useful for analyzing the different musical elements of cross-cultural music. This article particularly focuses on the collaborative use of Haul modes by the author and Hassan during the making of the album, El Aaiun Egdat.