The aim of this methodology is to combine Arab musical characteristics with various modern compositional techniques, and to study these works, we have relied on several references and studies concerned with musical analysis and Western musical theories, which can be used in Arab maqam music that includes various analytical methodological bases. Whereas, the proposed analytical study includes four analytical aspects represented mainly in the melodic aspect, the rhythm side, the performance aspect and the harmonic analysis, which are the basic elements for analyzing the melodic themes that make up each effect, considering the structural division. In addition to the possibility of adopting it also in improvisational musical works (rhythmic or free), this study also contains a section in which we deal with the constants and variables occurring in the musical effect, depending also on the analytical elements included in this proposal.

The 'ûd instrument is a musical material element that brings with it a diverse artistic, cultural, civilizational, intellectual, epistemological, accumulations and mutations. As a result, the Arabic music has merged with the occidental civilization which has resulted in several transformations in the Arabic culture. This has created new artistic trends according to certain artistic and perceptive measures. In addition, these recent musical trends have contributed in creating a modern and practical framework for 'ûd which had an impact on the artistic and social status. This cultural integration has contributed in the development and the enhancement of the musical writing of the instrument and has adopted it in new musical styles. This brings us to study these different musical trends and their adequacy with the particularities of the Arabic speech. In this article, we provide a technical musical classification which deals mainly with modal character determination criteria of innovative works of 'ûd through a critical and analytical approach in which we tackle the musical trends problem. This article focuses also on the study of the art work position and its adhesion to the identity element in general as well as to the musical intonation in particular, from new concepts that define the art work identity without considering the specificity of approved norms, thus, it is an attempt to propose more complete classification of the art work which exceed the limits of approved norms.

This research focuses on a subject has always remained relevant in the socio-artistic community in general and in the field of music especially interpretation, many findings have been raised about this in more synthesis with scope, briefly, on the phenomenon of anxiety or Stage fright, characterization, descriptive symptoms and ultimately practical ways to cope.