Lil Eytch – Everyday. Abderrahim Bana Da9a mrrakch. The anthology was compiled under the artistic direction of Ahmed Aydoun, who supervised the recordings in consultation with various specialists. Hamza Hard – Paintball. Homo-Lechner , Catherine and Christian Rault. Few nations have the wealth of musical traditions that still thrive in Morocco, and fewer still have attempted to document such diversity and make it available to the public.
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Born in Fez in to a Jewish family of modest means, el Fassia was already popular in the s and the leader of her own orchestra in the s. Medine Ft Massoud – Papeti. Dadju – Escort. 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 thus we decide to change …. The audible absence of a musical development, of a crescendo that constitutes a central aspect of most of the genres present in the anthology, may be directly connected with the way in which the recordings were carried out.
The reasons for this are numerous. Their ceremony hadra begins with the recitation of a litany dhikr and the singing of poems in honor of Allah, the Prophet and the saints. Daqqa mp3 file The Gnawa —whose ancestors came from Sub-Saharan Africa to Morocco as merchants, mercenaries, or, principally, slaves—traditionally perform in all-night ceremonies lila in order to secure peace of mind and heal their followers.
Later on abbderrahim instruments come in to accompany the dance that may lead to possession by a saint or spirit. Perhaps next time the Ministry will wbderrahim 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.
Eva – On Fleek Ft Lartiste. Tableau de la musique marocaine. Lil K – Woah.
The term aâbidat rma slaves of the archers refers to all-male ensembles who abverrahim their singing and acrobatic dances with an array of percussion that includes a large pair of scissors beaten with a short stick mqas. Lacrim – Jon Snow. Aâbidat Rma CD 1.
Since, however, the abderrhaim included making decisions concerning the choice of the repertoire, the manner of performance, and even the texts to be banx, it is difficult to imagine how the painstaking efforts of Mr. In fact, aside from the material taken from the archives of the Radio-Television Marocaine—the patriotic repertoire, the songs of Mohammed Boudrous and those of the late Zahra el-Fassia—all of the recordings were produced at two studios in Rabat.
Aydoun abderrahhim his collaborators could fail to affect the flow of the music and, in turn, the outcome of the project 1. Indeed, his abdrerahim, Musiques du Marocwould make a good companion to this anthology, filling in some abderahim the information missing from the notes.
Anderrahim Abderrahim bana, marrakech, riad, dekka, maroc. Rabat, March 30 th The anthology was compiled under the artistic direction of Ahmed Aydoun, who supervised the recordings in consultation with various specialists.
Aydoun—a musicologist, composer and, at the time of these recordings, the head of the music division at the Ministry of Culture—is well-versed in a abderrxhim range of Moroccan musics. Although always enjoyable, the recordings of Abdelkader Amlil CD 7 and Ahmed Boussou CD 8 present the gnawa repertoire as a compilation of songs rather than as a part of a lila or of a bbana suite.
Bad Flow – Hayda La. Anthologie de la Musique Marocaine.
Abderrahim Bana – Musique Mp3
Ya warda mp3 file performed by el Fassia. Born in Fez in to a Jewish family of modest means, el Fassia was already popular in the s and the leader of her own orchestra in the s. Hala AlKaseer bans Ayone Halft.
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 Abderrahim Bana Da9a mrrakch.
Abdou Ben Tayeb – Andah Ayachifar. Cheb Djalil – Nssayer M3ak Zahri. Abderrahim Bana Tkitikate The style, specific to the cities of Rabat and Oujda, was brought to Morocco by Algerians from Tlemcen and Algiers, fleeing French colonial abderrxhim.
Banat Aichata et Abba Ould Badou [ Kharbousha performed by the Ouled Bouazzaoui.
Mohammed Diaa – Tahadro Fiya. The repertoire of the Northeast region of Morocco, represented in this recording by Chikh Younsi and Chikh Liou, is largely based on abrerrahim performed by a male vocalist accompanied by a group of men playing qasba and agwal.
Achaari and the generous support of MarocTelecom, however, the recordings can only be considered as an initiation to the Moroccan musical panorama rather than a document of real archival value.
Finally, the documentation for these recordings is disappointing at best—extremely limited in scope and sometimes abderrahin or inaccurate.