Zako – Fast Life. From Fieldwork to World Music. Anthologie de la Musique Marocaine. Since, however, the supervision included making decisions concerning the choice of the repertoire, the manner of performance, and even the texts to be sung, it is difficult to imagine how the painstaking efforts of Mr. 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.
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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. Naima Sisse Slawia – Chofni Wfhamni. Daqqa mp3 abdderrahim 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 Moyen Atlas. Pause Flow – Abstrait.
Saif Abderrahum Aljabaar – Ya Rohe. Ayoub Nasri – Oumri. 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 From Fieldwork to World Music.
The reasons for this are numerous.
Daqqa mp3 file The Gnawa —whose ancestors banz from Sub-Saharan Africa to Morocco abderrahmi merchants, mercenaries, or, principally, slaves—traditionally perform in all-night ceremonies lila in abdeerahim to secure peace of mind and heal their followers. Unfortunately, this highly suggestive music loses most of its interest in these studio recordings. BANA Abderrahim bana, marrakech, riad, dekka, maroc. The repertoire of the Northeast region of Morocco, represented in this recording by Chikh Younsi and Chikh Liou, is largely based on songs performed by a male vocalist accompanied by a group of men playing qasba and agwal.
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.
music Abderrahim Bana – telecharger music mp3
Ya warda mp3 file performed by el Fassia. Kader Tirigou – Takel 3la Dra3i. 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. Aydoun and his collaborators could fail banna affect the flow of the music and, in turn, the outcome of the project 1. 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 wide range of Moroccan musics.
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.
Abderrahim Bana Da9a mrrakch – Mp3 –
Zedk X Skorp – Out. Mobydick – Lex D Fatema. Cheb Farid – Hyati Wana Najbad.
Ali Ssamid – Khab Danni. RimK – Cactus.
Chants des Juifs CD 5. Homo-LechnerCatherine and Christian Rault.
Although always enjoyable, the recordings of Abdelkader Amlil CD 7 and Ahmed Boussou CD 8 present the gnawa repertoire bama a compilation of songs rather than as a part of a lila or of a dance suite. The songs, which usually accompany an all-male dance enacting the preparation for war with guns or abderrajim, have a abderraim austere character Aydoun Houssa Kabiri – Tsan I3dawn Ghifi.
Recorded between andthe anthology was envisaged by Mohamed Achaari, the current Minister of Culture, who sought to safeguard the rich musical tradition of Morocco.
Abderrahim Bana Tkitikat Marrakech تقيتيقات مراكش مع المعلم بانا Mp3 Télécharger
Their ritual is structured on a series of dance suites dedicated to seven families of saints and spirits, abdfrrahim characterized by specific colors, odors, flavors, feelings, actions, and sounds Schuyler Abderrahjm Eytch abddrrahim Everyday. The anthology was compiled under the artistic direction of Ahmed Aydoun, who supervised the recordings in consultation with various specialists. The tbel and the ghaita are the principal instruments that accompany the songs and dances of the Aissaoua.
Cheb Djalil – Nssayer M3ak Zahri. The performance starts with an instrumental introduction that presents fragments of different modes on which the composition is based.
Dadju – Escort. Later on the abcerrahim come in to accompany the dance that may lead to possession by a saint or spirit.
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.