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Natacha Atlas Mish Maoul Mp3, Flac, Wma
Natacha Atlas Mish Maoul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: Mish Maoul Country: UK Released: 2006 Style: Vocal, Ballad MP3 version RAR size: 1860 mb FLAC version RAR size: 1358 mb WMA version RAR size: 1445 mb Rating: 4.6 Votes: 178 Other Formats: AHX APE MP3 ADX APE MP4 AAC Tracklist Hide Credits Oully Ya Sahbi Bass, Acoustic Guitar, Keyboards, Strings, Programmed By – Dubulah*Cello, Double Bass [Contrabass] – Bernard O'NeillDrums – Brother PDrums, Shaker, Keyboards, Programmed 1 5:33 By – Neil SparkesGoblet Drum [Darabuka] – Ali El MinyawiKeyboards – Natacha AtlasNey, Flute [Kawala] – Louai HenawiVocals – Sofiane SaidiWritten-By – Dubulah*, N. Atlas*, N. Sparkes* Feen Accordion – Gamal El Kordi*Cymbal [Zills], Bells, Shaker, Tambourine, Drums [Duf] – Neil SparkesDouble Bass – Bernard O'NeillGoblet Drum [Darabuka], Drums [Duf] – Ali El 2 MinyawiGuitar, Drums, Keyboards, Arranged By [Strings] – Dubulah*Ney [Solo], Zither 5:46 [Qanun] – Aytouch*Oud – Nizar HusayniRecorded By [Strings] – Khaled Raouf*Strings – The Golden Sounds Studio Orchestra Of CairoVocals – Princess JuliannaWritten-By – Dubulah*, Julie Anne Higgins, N. Atlas*, N. Sparkes* Hayati Inta Backing Vocals – Sofiane SaidiBacking Vocals, Flute [Djouwak], Performer [Tabel], Handclaps, Arranged By – Hamid BenkouiderBacking Vocals, Oud, Lute [Gambri], Drums 3 3:57 [Bendir], Zurna, Percussion [Karkabou], Programmed By, Arranged By – Yazid FentaziDouble Bass – Bernard O'NeillGuitar – Count DubulahProducer – Hamid Benkouider, Natacha Atlas, Philip BagenalWritten-By – M. Eagleton*, N. Atlas* Ghanwah Bossanova Double Bass, Piano – Bernard O'NeillDrums – Brother PDrums, Programmed By, Percussion 4 [Riq], Shaker, Shaker [Shell], Cymbal [Zills], Goblet Drum [Darabuka], Drums [Bendir] – 6:29 Neil SparkesGuitar, Programmed By, Keyboards, Strings – Count DubulahWritten-By – Dubulah*, N. Atlas*, N. -
“A Committed, Euphoric International Coalition.”
“a committed, euphoric international coalition.” Bio Founded in 2011 by Egyptian ethnomusicologist Mina Girgis and Ethiopian-American singer Meklit Hadero, the Nile Project is one of the tightest cross-cultural musical collaborations in history. Working to raise awareness of the entire Nile River basin as an ecosystem, the 27- member Nile Project collective hail from all along the great river that connects 11 countries and over 400 million people—a region that has been marred by political and ecological conflicts—from its sources beyond Lake Victoria to its delta in Egypt. Resonant harps and lyres from up and down the river have learned new musical modes, while buzzing timbres and ingenious polyrhythms support vocals in more than 10 languages. Instruments that parted ways millennia before are reunited and pushed into new places. Love songs have crossed geographic and linguistic barriers to forge new, close friendships. The Nile Project’s collaborative model is a blueprint for a new way to organize the Nile. In January 2015, the Nile Project embarked on a 4 month US tour performing 50 concerts with stops at the Lincoln Center, the United Nations and residencies at 30 universities. Using music to spark cultural curiosity and engage audiences, the Nile Project encourages them to feel connected to the river and to explore new approaches to its large- scale problems. In an evolving series of interlocking programs that spring from the musical experience, the project aims to inspire, educate and empower young people worldwide to become Nile Citizens. Full Bio at www.nileproject.org/music Musicians Only US Tour musicians are featured in this publication. -
Possible Quiz Questions for Music in Egypt Match the List of Egyptian
Possible Quiz Questions for Music in Egypt Match the list of Egyptian instruments with the descriptions. 1. mizmar a. a plucked zither 2. kawala b. a tambourine with five sets of cymbals 3. tabla c. a short-necked lute with five pairs of strings 4. nay d. an Arabic folk oboe 5. qanun e. a four-stringed Western instrument used in Egyptian musical traditions 6. ‘ud f. an end-blown reed flute used in madh music 7. violin g. the end-blown reed flute featured in east Arab art music 8. riqq h. single-headed, goblet-shaped drum Use the list of instruments to match with the pictures of Egyptian instruments. ___________ ___________ ___________ ____________ ______________ ____________ __________________ Tabla Kawala Qanun Violin Mizmar ‘Ud Riqq Match the singer or type of musical tradition with the description. 1. Hakim 2. Umm Kulthum 3. Zaffa 4. Takht 5. Firqa 6. Mizmar ensembles 7. Call to prayer _____A. Wedding procession _____B. Egyptian pop music superstar _____C. Recurring soundscape heard across Egypt at several times throughout the day _____D. The orchestra-sized ensemble which performed Arab art music from the 1930s _____E. The most famous Egyptian singer who became the “Voice of Egypt” _____F. A small performance ensemble for eastern Arab art music in the late-nineteenth and early-twentieth centuries Possible Quiz Answers for Music in Egypt Match the list of Egyptian instruments with the descriptions. 9. Mizmar a. a plucked zither 10. Kawala b. a tambourine with five sets of cymbals 11. Tabla c. a short-necked lute with five pairs of strings 12. -
DISCOVERY SERIES MIDDLE EAST - Manual - 4 Table of Contents
MANUAL Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu- ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru- ments GmbH. Mac, Mac OS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trade marks are the property of their respective owners and use of them does not im- ply any affiliation with or endorsement by them. Document authored by: Adam Hanley Software version: 1.0 (06/2018) Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc. Schlesische Str. 29-30 6725 Sunset Boulevard D-10997 Berlin 5th Floor Germany Los Angeles, CA 90028 www.native-instruments.de USA www.native-instruments.com NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited YO Building 3F 18 Phipp Street Jingumae 6-7-15, Shibuya-ku, London EC2A 4NU Tokyo 150-0001 UK Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 203B & 201B, Nanshan E-Commerce Base Of 75011 Paris Innovative Services France Shi Yun Road, Shekou, Nanshan, Shenzhen www.native-instruments.com China www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
ABOUT the Artists ABOUT the Performance
ABOUT THE ARTISTS The Nile Project is a collaborative group of musicians, educators and activists who work together to build awareness about and generate new ideas to address environmental challenges in the Nile River basin. It was founded in August 2011 by Egyptian ethnomusicologist Mina Girgis and Ethiopian-American singer Meklit Hadero, who both feel passionately about the power of music to make a difference in the Nile region. The 437 million citizens of the 11 nations in the Nile River basin do not have many opportunities to connect with each other. Girgis and Hadero believe that these countries must work together to solve the environmental challenges facing the Nile River, such as food sustainability, climate change, water policy and pollution. The Nile Project brings together musicians from the Nile countries to make new songs and tour around the region and beyond, sharing the music and cultures of their river neighbors. Another strategy the Nile Project takes is education, working with universities to hold workshops that provide students with opportunities to learn more about the Nile River and develop ideas to create a more sustainable Nile Basin. The organization also offers a Nile Prize, which provides students a way to turn their inspiration and environmental knowledge into new and exciting sustainable solutions for the Nile ecosystem. In 2015 The Nile Project tours the United States for four months, bringing music and education programs to American universities and towns. The Project aims to inspire and educate citizens around the world to work together for environmental sustainability. About the PERFORMANCE The Nile Project performs original music that was composed collaboratively by all the participating artists. -
ARABIC MUSIC Devin J Stewart, Ph.D
HUMANITIES INSTITUTE ARABIC MUSIC Devin J Stewart, Ph.D. Arabic Musical Traditions Instruments. Music is one of the most complex, varied, and ubiquitous aspects of cultural production in the Arab worlds. It is found even in the most conservative communities. In Arabic music, drums are the most important instruments for dancing and group singing such as wedding songs, and the lute is the most important for accompanying solo singing. Other traditional instruments include the mizmar, similar to an oboe, various types of flute called nay or kawala, a rabab or spike fiddle, and the qanun or zither. In modern times, the violin has replaced the rabab in many contexts. The piano was introduced and adapted, the electric guitar came and went, and the synthesizer and drum machine are now standard in pop music. Distinguishing features. Arabic music is readily distinguished from Western music by several factors. It has distinct rhythms, usually played on a variety of ceramic or frame drum, and represented by a series of heavy and light strokes termed dum and tak. While a few of the most common rhythms fit into a 4-4 bar, many are more complex, having 7, 9, or 13 beats. The popular rhythms in the Middle East are distinguished from those found in Iran—where 6/8 rhythms are the most popular—and from rhythms in areas where sub- Saharan African influence is strong, such as the Gulf and Morocco, where 3 on 2 rhythms (i.e., two simultaneous rhythms) are popular. The equivalent of Western key signatures or scales are called maqams or modes, of which dozens exist, each with a name such as rast, saba, nahawand, and so on. -
Jesse Manno Cv 2011 Music Skills/Specifications
JESSE MANNO CV 2011 1 MUSIC SKILLS/SPECIFICATIONS: -Versatile collaborator, composer and improviser with well honed “one man band” skills. -Audio Producer, recording, mixing and live sound Engineer/designer. -Multi-lingual vocalist with 3.5 octave range, multiple styles. Instruments played: Lutes (laouto, bouzouki, bağlama, divan sazı, cura, oud, 6 and 12 string guitar), Percussion (drum set, doumbek, riqq, tabla baladi, davul, djembe, djun djuns, conga), flutes, accordion, piano, electronics, laptop, field recordings, and objects not typically used for musical purposes. Recording Studio: 500 sf, iso room, Logic Pro, Steinway 1919 grand piano, 24 ch. digital mixer, MOTU firewire interface, Grace and API pre-amps, Korg and Kurzweil synths. AKG, Røde and Chameleon mics. Foriegn languages: French (fluent with faults), Turkish (basic), Indonesian, Spanish, Italian (limited). COMMISSIONED SCORES/EVENTS for dance/theatre/film (partial list): Utopia Parkway 70 min. multimedia homage to visual artist Joseph Cornell directed by dance improvisation artists/choreographers Chris Aiken and Angie Hauser, with co-musician Ty Burhoe, premeired at Dance Center Columbia College, Chicago, IL, 2011. Come To Your Senses Closing event for the 16th annual Los Angeles Art Show, with aerial dance artists The Stebens Twins, Turning The Wheel, Timothy Yarger Fine Art. Cooper Design Space, L.A., 2011. Come, and Back Again Music director, arranger, performer, 12 min. dance theater piece exploring the work of Patti Smith. Choreographed and directed by David Dorfman, Bates Dance Festival, Maine, 2011. I, Disappear 12 min. modern dance work for laptop, Turkish Saz, and vocals, choreographed by Michael Foley. Commissioned by Bates Dance Festival, Bates College, Maine, 2010. -
The Social Life of Musical Instruments
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2012 The oS cial Life of Musical Instruments Eliot Bates CUNY Graduate Center How does access to this work benefit ou?y Let us know! Follow this and additional works at: https://academicworks.cuny.edu/gc_pubs Part of the Ethnomusicology Commons, and the Music Performance Commons Recommended Citation Bates, Eliot, "The ocS ial Life of Musical Instruments" (2012). CUNY Academic Works. https://academicworks.cuny.edu/gc_pubs/486 This Article is brought to you by CUNY Academic Works. It has been accepted for inclusion in Publications and Research by an authorized administrator of CUNY Academic Works. For more information, please contact [email protected]. Vol. , No. Ethnomusicology Fall Th e Social Life of Musical Instruments Eliot Bates / Cornell University ccordion Crimes, a novel by E. Annie Proulx, traces the life of and routes Atravelled by a green diatonic button accordion: its birth in Sicily in the workshop of “Th e Accordion Maker,” its numerous changes of ownership in the Americas during encounters between various immigrant communities, and its death when it fi nally falls into disrepair in the town of Old Glory, Minnesota. Th ere are other accordions in the book, and many temporary human owners, but it is one particular green accordion that is the book’s protagonist. We meet and experience other characters largely through their interactions with the green accordion, a character whose voice, we learn, “sounded hoarse and crying, re- minding listeners of the brutalities of love, of various hungers” (Proulx 1996:22). -
When the Rivers Met... A.J
(LYRCD 7459) When the Rivers Met... A.J. Racy, MIDDLE EASTERN MUSIC James Peterson, WESTERN ORCHESTRAL MUSIC Middle Eastern Music and Western Orchestral Music This album represents a collaboration between two extraordinary artists who come from different musical traditions, but who have created an exciting path for merging their respective artistic voices. A. J. Racy is a Lebanese-born composer and phenomenal virtuoso on a variety of Middle Eastern wind and string instruments. James Peterson is a highly innovative American composer and arranger, in the Western symphonic idiom. The material on the album consists of specially edited selections from two longer sound tracks that the two artists jointly composed—one for a documentary film made by Craig McCourry, titled The Great Bazaars (McCourry Films, 2001), and another for a feature- length television drama produced by Ramzi Rassi, The Last Cavaliers (2002). Racy and Peterson met in Los Angeles in the late 1990s and have subsequently worked together on a number of musical projects. 1 Music and Instruments In this recording, the Western-based component presents various instrumental configurations, dynamic effects, and harmonic textures. In turn, the Middle Eastern- derived material introduces a distinctive vocabulary of timbres, embellishments, and modally inspired melodic structures. The integration of the two idioms gives the overall content its own distinctive ambiance, as well as its internal stylistic and expressive variety. A wide array of instruments is used. The orchestral sections occasionally combine standard Western instruments with such Arab percussion instruments as the tar (large framedrum), tablah (single vase-shaped drum), and riqq (small tambourine). Also eight, mostly Middle Eastern, instruments, heard on the album either in ensemble contexts or in solo or solo-drone passages, are all performed by A. -
The Nile Project
Appalachian State University’s Office of Arts and Cultural Programs presents APPlause! K-12 Performing Arts Series April 4, 2017 10am-11am The Nile Project As an integral part of the Performing Arts Series, APPlause! matinées offer a variety of performances at venues across the Appalachian State University campus that feature university-based artists as well as local, regional and world-renowned professional artists. These affordable performances offer access to a wide variety of art disciplines for K-12 students. The series also offers the opportunity for students from the Reich College of Education to view a field trip in action without having to leave campus. Among the 2016-2017 series performers, you will find those who will also be featured in the Performing Arts Series along with professional artists chosen specifically for our student audience as well as performances by campus groups. Before the performance... Familiarize your students with what it means to be a great audience member by introducing these theatre etiquette basics: • Arrive early enough to find your seats and settle in before the show begins (20-30 minutes). • Remember to turn your electronic devices OFF so they do not disturb the performers or other audience members. • Remember to sit appropriately and to stay quiet so that the audience members around you can enjoy the show too. PLEASE NOTE: *THIS EVENT IS SCHEDULED TO LAST APPROX 60 MINUTES. 10:00am – 11:00am • Audience members arriving by car should plan to park in the Rivers Street Parking Deck. There is a small charge for parking. Buses should plan to park along Rivers Street – Please indicate to the Parking and Traffic Officer when you plan to move your bus (i.e. -
Ancient World: Instruments of Antiquity Manual
Instrument Introduction Ancient World: Instruments of Antiquity is an exciting journey to the origins of musical sound. All of the most important instruments of antiquity have been extensively sampled for the first time ever. Master Luthier, Nikolaos Brass’ collection of ancient Greek instruments forms the basis of Ancient World. Brass dedicated his life to the research and re-creation of ancient musical instruments, using the same methods and materials which were used in ages past. Some of the instruments, such as the Syntonon and Copperphone, are extremely rare with only two or three existing worldwide! The multi-sampling of these beautiful instruments presents a rich array of String, Wind, and Percussion implementations. All of the performance techniques have been meticulously sampled. For instance, the string instruments have articulations such as plucked, with and without vibrato, harmonics, plectrum, tremolo, arpeggios, glissandos, behind the bridge, slides, and more. In some cases, up to thirty samples per note have been recorded. Beyond the multi-sampled instruments, Ancient World contains an extensive collection of looped performances for almost all the instruments presented in the collection. The loops are categorized in Slow, Medium, and Fast tempos and automatically adapt to BPM changes. In order to expand the geographical and historical boundaries, many rare instruments from Medieval times, the Mediterranean basin, as well as the Middle-East have been added. Ancient World is an indispensable tool for composers who are active in film, TV and video games. 2 Of 14 USER INTERFACE Ancient World’s interface is simple and easy to use. The controls include: REVERB - This knob controls the amount of reverb added to the instrument sound.