Muhammad ibn Idris al-Shafi'i (d. 204 H.), the subject of the present thesis, was a Muslim legist who played a central role in the development of Islamic law. He wrote the first treatise on jurisprudence in Islam, a work in which he discusses the nature and sources of Islamic law and develops a legal methodology designed to interpret those sources. Al-Shafi'is legal theory is based on two principles: an insistence on following the scripture and traditions and a restriction on the use of reason. Furthermore, al-Shafi'i established the hierarchy of the four sources of law: the Qur'an, Sunnah, ijma' and qiyas. / In the centuries that followed, al-Shafi'is legal theory was to have a great influence. The Hanbali and the Zahiri schools of law arose in an environment that was considerably influenced by al-Shafi'i and his followers. The founders of these two schools strictly followed revelation and restricted the use of reason: Dawud al-Z ahiri even refused to consider qiyas as one of the sources of law. Although not all aspects of al-Shafi'is theory gained acceptance among later scholars, these scholars nevertheless owe much to al-Shafi'i for his efforts at systematizing the method of deriving law.

Trained in the thought of the Western masters, Muhammed Aziz Lahbabi, like so many other Muslim intellectuals, tries to re-think Islam in the light of modern philosophies. As Emmanuel Mounier in Christian thought, so Lahbabi tries to formulate the fundamentals of a "Muslim personalism". To what degree is he able to free himself of the Christian and Western problematic and realize an authentic Muslim work?

Consacré à un instrument de musique et à deux de ses maîtres, ce travail de recherche s’inscrit dans une approche historique, organologique et analytique. Le qānūn, cordophone traditionnel à cordes pincées, est le socle de l’ensemble instrumental dénommé takht qui est inhérent à la tradition musicale artistique du Mashriq à l’époque de la Nahḍa (Renaissance arabe 1898-1939). Soumis à cette époque, à des mutations organologiques de même, qu’à des transformations dans la grammaire musicale, en rapport avec les processus acculturatifs et modernistes de l’entre-deux-guerres, le style de l’improvisation instrumentale ou taqsīm au qānūn connaît une évolution significative. Celle-ci est étudiée dans cette thèse en tenant compte de l’organologie historique et systématique de l’instrument, du mode de jeu instrumental, de l’histoire de cette tradition musicale et en s’appuyant sur l’analyse de la transcription d’exemples enregistrés sur disques 78 tours de deux grands maîtres de cet instrument : Muḥammad al-‘Aqqād (1849-1930) et Muḥammad ‘Abduh Ṣāliḥ (1912-1970). / This research, which uses historical, organological and analytical approaches, is solely concentrated on a musical instrument and two of its masters. The qānūn is a traditional chordophone where strings are plucked; it is the base of the instrumental ensemble called takht which is inherent to the musical artistic tradition of the Mashriq during the Nahḍa period (Arabic Renaissance 1898-1939). Subjected to many organological changes during this period, and subjected to many transformations in the musical grammar with respect to acculturation and modernism between the two wars, the improvisational instrumental style, known as qānūn taqsīm saw a significant evolution. The latter is studied in this thesis, bearing in mind the historical and systematic organology of the instrument, the performance mode, the history of this musical tradition, as well as relying upon the analysis of transcriptions of recorded examples of 78 RPM of the two great masters of the instrument: Muḥammad al- ‘Aqqād (1849-1930) and Muḥammad ‘Abduh Ṣāliḥ (1912-1970).

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