The term aâbidat rma slaves of the archers refers to all-male ensembles who accompany their singing and acrobatic dances with an array of percussion that includes a large pair of scissors beaten with a short stick mqas. Tflow – Thank You. Furthermore, one must wonder why the two CDs are classified as basic rhythms in the anthology. The ensemble Ahl Srif CD 5 , from the area surrounding the well-known village of Jajouka, performs a music that is generally heard during ritual celebrations connected to mystical religious associations, or at processions celebrating weddings and circumcisions. Chants du Moyen Atlas.

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RimK – Cactus. Madd – Black. The repertoire of the Jbala musicians, from the northwest of Morocco, is based on two genres: One cannot really do justice to the entire anthology in so little space, but here is a summary of the contents. These five recordings present the songs and dances that accompany the rituals of different Muslim mystical religious associations tariqât found throughout Morocco. 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. 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 dance suite.


The reasons for this are numerous. Chants du Moyen Atlas. Abderrrahim 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 …. Ya warda mp3 file performed by el Fassia Chants patriotiques CD 6.


Abderrahim Bana – Music Cha3bi Télécharger Music Mp3

Their ritual is structured on a avderrahim of dance suites dedicated to seven families of saints and spirits, each characterized by specific colors, odors, flavors, feelings, actions, and sounds Schuyler Indeed, his book, Musiques du Marocwould make a good companion to this anthology, filling in some of the information missing from the notes.

Cheb Djalil – Nssayer M3ak Zahri. Lacrim – Jon Snow. The anthology was compiled under the artistic direction of Ahmed Aydoun, who supervised the recordings in consultation with agderrahim specialists.

Finally, the documentation for these recordings is disappointing at best—extremely limited in scope and sometimes confusing or inaccurate. From Fieldwork to World Music.

abderrahim bana

Gnawa Ahmed Boussou [ 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 Bahha Amzian Et Aziza Atlas – 3awni 3awnghak. Hamza Hard – Paintball. The Gnawa —whose ancestors came from Sub-Saharan Africa to Morocco as merchants, mercenaries, or, principally, slaves—traditionally perform abderrahmi all-night ceremonies lila in order to secure peace of mind and heal their followers.

Mohammed Diaa – Tahadro Fiya. The style, specific to the cities of Rabat and Oujda, was brought to Morocco by Algerians from Tlemcen and Algiers, fleeing French colonial rule. And, indeed, the collection does illustrate the extraordinary richness and diversity of Moroccan traditional music.

music Abderrahim Bana

Eva – On Fleek Ft Lartiste. Khalid – Vertigo. Ali Ssamid – Khab Danni.

abderrahim bana

Aydoun and his collaborators could fail to affect the flow of the music and, in turn, the outcome of the project 1. Parce que si on ne le faisait pas on risquerait donc de passer toute la journée, même toute la semaine, à chercher un compromis que ne vient pas …. Lartiste – Latino Feat Mizi. In short, a newcomer to Moroccan music 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.


Lil K – Woah.

The tbel and the ghaita are the principal instruments that accompany the songs and dances of the Aissaoua. Gnawa – Goumari. If listeners are abcerrahim, there will be more collections to come.

abderrahim bana

The performance starts with an instrumental introduction that presents fragments of different modes on which the composition is based. 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. 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.

Houssa Kabiri – Tsan I3dawn Ghifi. The booklets that accompany each volume unfortunately provide only a sketchy description of the music, very little or nothing about the artists, and no information on individual tracks.