Hussein El Deek – Kelme Aatini. Lbenj – Animal. The list of contents on the backs of the CDs also include significant mistakes. These five recordings present the songs and dances that accompany the rituals of different Muslim mystical religious associations tariqât found throughout Morocco. 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, and the sliding leather tuning rings and metal sound modifier of the guinbri.

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Cheb Djalil – Nssayer M3ak Zahri. Hussein El Deek – Kelme Aatini. Finally, the documentation for these recordings is disappointing at best—extremely limited in scope and sometimes confusing or inaccurate. We tell them to sing other things, to give us other examples and then we anderrahim the choice. The performers, related to the bardic tradition of the imdyazn, accompany their singing with the lotar a plucked, four-stringed lute with a pear-shaped resonator covered with goat-skin. Bad Flow – Hayda La. RimK – Cactus.

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 …. Chants des Juifs CD 5. Mobydick – Lex D Fatema.

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If listeners are lucky, there will be more collections to come. 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. Khalid – Vertigo. Abderrahim Bana Da9a mrrakch. 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 abdderrahim s.


Homo-LechnerCatherine and Christian Rault. 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.

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Tflow – Thank You. Chants du Rif CD 2 and 3. From Fieldwork to World Music. Tflow – 7egara. The style, specific to the cities of Rabat and Oujda, was brought to Morocco by Algerians from Tlemcen and Algiers, fleeing French colonial rule.

Madd – Black. Cheb Farid – Abdrerahim Wana Najbad. Gharnati is a version of the Andalusian musical style, thought to have originated in Granada, Spain, and developed after in Algeria. 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. Chants du Rif Mohamed Boudrous [ 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 Bans.

The songs, which usually accompany an all-male dance enacting the preparation for war with guns or sticks, have a rather abderarhim character Aydoun Although the Gnawa belief system is heavily influenced by Sub-Saharan religious practice, the musicians and devotees are all practicing Muslims and their songs contain many invocations to recognized Muslim saints.


Their ceremony hadra begins with the recitation of a litany bsna and the singing of poems in honor of Allah, the Prophet and the saints.

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Hamza Hard abdrerahim Paintball. At the same time, an experienced listener may feel frustrated by the quality of some of the performances, the lack of documentation, and the absence of song texts. Dadju – Escort. Eva – On Fleek Ft Lartiste. Despite the good intentions of Mr.

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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. Daqqa is particularly associated with the cities of Marrakech and Taroudant.

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The tbel and the ghaita are the principal instruments that accompany the songs and dances of the Aissaoua. Specifically, the music, once taken out of its normal context, often fails to reach the intensity that it customarily generates in live performance.

Indeed, his book, Musiques du Marocwould make a good companion to this anthology, filling in some of the information missing from the notes. Ya warda mp3 file performed by el Fassia. For example, for the song of the Vana Atlas or for the song abdeerahim the Sahara, we are faced sometimes with people that were never before inside a studio.