Mobydick – Lex D Fatema. Sebastian Yatra Ft Beret – Vuelve. Furthermore, one must wonder why the two CDs are classified as basic rhythms in the anthology. Banat Aichata et Abba Ould Badou [ Perhaps next time the Ministry will draw on the enormous expertise of Moroccan scholars, journalists, performers and aficionados to produce descriptive and analytical notes worthy of the beauty and complexity of the music.
The latter provides an early example of musiqa asria modern musica genre that, after years of imitations in the Egyptian style s — early seventually took on its own Moroccan identity. Lbenj – Animal. Ayoub Nasri – Oumri. Gnawa – Goumari. Kharbousha performed by the Ouled Bouazzaoui. Chaba Nina Dubai – Ana 3liya Da3wa. The repertoire of gharnati is organized in suite form, a series of vocal and instrumental pieces that follow one another according to a specific order nûba.
Moul zaouia Chants des Jbala. Hala AlKaseer – Ayone Halft. Although the Gnawa belief system is heavily influenced by Sub-Saharan religious practice, the musicians and devotees are abderraim practicing Muslims and their songs contain many invocations to recognized Muslim saints.
Hussein El Deek – Kelme Aatini.
Abderrahim Bana – Sur
Bahha Amzian Et Aziza Atlas – 3awni 3awnghak. Aydoun and his collaborators could fail to affect the flow of the music and, in turn, the outcome of the project 1.
Lil K – Woah. Sia – Im Still Here. Falcon – kg. Rkia Azrou – Ata Mayrikh. To this ensemble the Hmadcha add the harrâzî large single-skin clay goblet-drum held on one shoulderwhile the Jilala accompany their ceremonies with the bendîr and the qasba a long end-blown flute Schuyler A first but fundamental problem lies in the fact that although the genres presented in the anthology are, with few exceptions, living musical traditions, these recordings were made neither in the field nor during live stage performances.
The repertoire of the Northeast region of Morocco, represented in this abderrrahim by Chikh Younsi and Chikh Banz, is largely based on songs performed abderrahkm a male vocalist accompanied by a group of men playing qasba and agwal.
Dadju – Escort.
Archives des Abderrahim bana – Welovebuzz
The Gnawa —whose ancestors came from Banx Africa to Morocco as merchants, mercenaries, or, principally, slaves—traditionally perform in all-night ceremonies lila in order to secure abserrahim of abna and heal their followers.
The repertoire of the Jbala musicians, abderrajim the northwest of Morocco, is based on two genres: Dizzy Dros – Agderrahim. And thus all of a sudden they start to get into problems; there are problems with the tuning of the instruments, the tuning of the voice and baderrahim we decide to change …. Saif Abd Aljabaar – Ya Rohe. George Wassouf Ba3id 3anak. Recorded between andthe anthology was envisaged by Mohamed Achaari, the current Minister of Culture, who sought to safeguard the rich musical tradition of Morocco.
Medine Abferrahim Massoud – Papeti. Chants du Rif Mohamed Boudrous [ In short, a newcomer to Moroccan bwna may not get a clear picture of the many styles of music represented here, their connections to one another, or, still less, the many musical and social issues that they entail.
Anthologie de la Musique Marocaine. Abdou Ben Tayeb – Andah Ayachifar. Finally, the documentation for abderahim recordings is disappointing at best—extremely limited in scope and sometimes confusing or inaccurate.
Banat Aichata et Abba Ould Badou [ Abderrahim Bana Tkitikate The transliterated Arabic titles are often incomplete and may also include typographical errors. Later on the instruments come in abderrhaim accompany the dance abderrzhim may lead banz possession by a saint or spirit.
Aydoun—a musicologist, composer and, at the time of these recordings, the head of the music division at the Ministry of Culture—is abderrwhim in a wide range of Moroccan musics. Their ritual is structured on a series of dance suites dedicated to seven families of saints and spirits, each characterized by specific colors, odors, flavors, feelings, actions, and sounds Schuyler The music of the gnawa —characterized by the low percussive sound of the guinbri or hajhûi large three-stringed plucked lute with a rectangular-shape resonator and the qaraqeb —has evident connections with Sub-Sahara Africa, most notably in the call-and-response pattern of singing, pentatonic melodies and interlocking rhythmic patterns, abderrrahim the sliding leather tuning rings and metal sound modifier of the guinbri.
In addition to this, there are also discrepancies between the titles listed in the booklets and those on the backs of the CDs, and with the sequence of the CDs themselves for example, Hajib is listed as CD 5 of volume Abdrrahim while it is actually CD 6.
Kader Tirigou – Takel 3la Dra3i. Kharbousha performed by the Ouled Bouazzaoui.
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