L'intemporelle Musique Orientale
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Song, State, Sawa Music and Political Radio Between the US and Syria
Song, State, Sawa Music and Political Radio between the US and Syria Beau Bothwell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Beau Bothwell All rights reserved ABSTRACT Song, State, Sawa: Music and Political Radio between the US and Syria Beau Bothwell This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music. -
Public Sounds, Private Spaces: Towards a Fairouz Museum in Zokak ElBlat
OIS 3 (2015) ± Divercities: Competing Narratives and Urban Practices in Beirut, Cairo and Tehran Mazen Haidar and Akram Rayess Public Sounds, Private Spaces: Towards a Fairouz Museum in Zokak el-Blat Figure 1: Young Nouhad Haddad (Fairouz) to the right, with one of the neighbours, on the staircase of her family©s house in Zokak el Blat in the late 1940s. Source: Fairouz 1981 USA Tour catalogue. <1> The idea of dedicating a museum to Fairouz, the famous singer and doyenne of musical theatre in Lebanon, at her childhood home in Beirut has circulated in the local media for several years.1 The persistent media 1 A variety of articles and television reports from Lebanese and Arab newspapers and TV stations from 2009 to 2015 have covered the issue of the "Fairouz Museum" in Beirut, in parallel to studies and research conducted by institutions and civil society associations such as MAJAL ± see for instance MAJAL Académie Libanaise des Beaux-Arts, Urban Conservation in Zokak el-Blat (Université de Balamand, 2012) ± and Save Beirut Heritage. Among these we mention the following media resources: Chirine Lahoud, "The House where a Star was Born", Daily Star, Beirut, 18 June 2013; Haifa Lizenzhinweis: Dieser Beitrag unterliegt der Creative-Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC-BY-NC-ND), darf also unter diesen Bedingungen elektronisch benutzt, übermittelt, ausgedruckt und zum Download bereitgestellt werden. Den Text der Lizenz erreichen Sie hier: http://creativecommons.org/licenses/by-nc-nd/3.0/de campaign, initiated by a number of associations and activists calling for the preservation of plots 565 and 567, the cadastral numbers of the two properties on which Fairouz©s childhood home was located, came to fruition when the endangered nineteenth-century mansion in the Zokak el-Blat district was declared a building of public interest.2 <2> This paper discusses Fairouz©s house as part of a contested urban space, and the multiple readings and interpretations of Beirut©s architectural heritage that have arisen in this contentious context. -
Aksam Alyousef
“Harvesting Thorns”: Comedy as Political Theatre in Syria and Lebanon by Aksam Alyousef A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Drama University of Alberta © Aksam Alyousef, 2020 ii ABSTRACT At the end of the 1960s and the beginning of the 70s, political comedy grew exponentially in Syria and Lebanon. This phenomenon was represented mainly in the Tishreen Troupe ,(مسرح الشوك performances of three troupes: Thorns Theatre (Al-Shuk Theatre مسرح and Ziyad Al-Rahbani Theatre (Masrah Ziyad Al-Rahbani ,(فرقة تشرين Ferqet Tishreen) These works met with great success throughout the Arab world due to the audacity .(زياد الرحباني of the themes explored and their reliance on the familiar traditions of Arab popular theatre. Success was also due to the spirit of the first Arab experimental theatre established by pioneers like Maroun Al-Naqqash (1817-1855) and Abu Khalil Al-Qabbani (1835-1902), who in the second half of the nineteenth century mixed comedy, music, songs and dance as a way to introduce theatre performance to a culture unaccustomed to it. However, this theatre started to lose its luster in the early 1990s, due to a combination of political and cultural factors that will be examined in this essay. iii This thesis depends on historical research methodology to reveal the political, social and cultural conditions that led to the emergence and development (and subsequent retreat) of political theatre in the Arab world. My aim is to, first, enrich the Arab library with research material about this theatre which lacks significant critical attention; and second to add new material to the Western Library, which is largely lacking in research about modern and contemporary Arab theatre and culture. -
Women in Sha'bi Music: Globalization, Mass Media and Popular Music in the Arab World
WOMEN IN SHA'BI MUSIC: GLOBALIZATION, MASS MEDIA AND POPULAR MUSIC IN THE ARAB WORLD DANA F. ACEE A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC December 2011 Committee: David Harnish, Advisor Kara Attrep © 2011 Dana F. Acee All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis focuses on sha’bi music, a style of popular music in the Arab world. More specifically, it discusses the role of women in sha’bi music, focusing on singers Nancy Ajram and Haifa Wehbe as examples of female pop singers. I take a feminist approach to understanding the lives, images, and legacies of two of the most influential female singers of the twentieth century, Umm Kulthum and Fairouz, and then I explore how these legacies have impacted the careers and societal expectations of Ajram and Wehbe. Several issues are explicated in the thesis, including the historic progression of popular music, the impacts of globalization and westernization, and the status of women as performers in the Arab world. The fan bases of the various female sha’bi singers are explored to examine why people are drawn to popular music, how youth cultures utilize music to define their generations, and why some people in the Arab world have problems with this music and/or with the singers: their lyrics, clothing, dancing bodies, and music videos. My ethnography on these issues among Arabs in Bowling Green, Ohio, reveals how members of the diaspora address the tensions of this music and the images of female performers. -
Rabat Et Madrid Reprendront Langue En Février
www.libe.ma ibération L Prix: 4 DH N°: 9209 6 Directeur de Publication et de la Rédaction : Mohamed Benarbia Mercredi Janvier 2021 Décès du militant Abdelkrim Belkoura Les condoléances Rabat et Madrid du Bureau politique C’est avec grande afflic- tion que le Bu- reau politique a appris le décès, survenu dimanche 27 reprendront décembre, du militant ittihadi, l'un des cadres les plus en vue de l'USFP et ex-conseiller com- munal à Rabat, Abdelkrim Belkoura, qui était également connu pour ses va- leureuses contributions dans le quoti- dien «Libération». En ces douloureuses circons- langue en février tances, le Bureau politique présente ses sincères condoléances à l’épouse du re- gretté, Mme Fatima El Hilali, à ses en- Tant de questions à débattre dans un contexte particulier fants Samir et Yasmina, ainsi qu’aux familles Belkoura, El Hilali et Charfi. Puisse Dieu avoir l’âme du défunt en Sa Sainte Miséricorde. Nous sommes à Dieu et à Lui nous retournons. Dans sa mutation, la Covid-19 affecte jeunes et moins jeunes Les enfants ne sont plus épargnés Page 5 Mohamed Benabdelkader La carte judiciaire du Maroc doit être révisée Page 2 Le Wydad joue son va-tout en Ligue des champions La RSB et le TAS bien partis pour franchir le cap du 2ème tour préliminaire de la Coupe de la Confédération Lire page 3 Page 23 2 LIBÉRATION MERCREDI 6 JANVIER 2021 Mohamed Benabdelkader : La carte judiciaire du Maroc doit être révisée mière instance. Le ministre a, dans ce sens, af- firmé que son département a pour é missions de garantir l'accessibilité des citoyens à la justice, à travers une carte rationnelle qui rapproche l'ins- titution judiciaire des citoyens, sou- t lignant que le ministère est en train de réviser cette carte et que des arrê- tés seront émis à cet égard. -
Aswat Zellerbach Hall (“Voices”)
Cal Performances Presents Program Tuesday, March 17, 2009, 8pm Aswat Zellerbach Hall (“Voices”) Aswat PROGRAM (“Voices”) Mohammad Abdel Wahhab (1907–1991) Fakkaruni Wadi’ Al-Safi (b. 1921) Jannat Al-Safi Weili Laou Yidrun Wahhab Sakana l-Layl Zakariyya Ahmad (1896–1961) Il Wardi Gamil Assi Rahbani (1923–1986) & Mansour Rahbani (1925–2009) Sahrit Hubb INTERMISSION Celebrating the Golden Age of Arab Music & Cinema Farid Al-Atrash (1915–1974) Kahramana starring Al-Atrash Layalil Unsi Fi Vienna Ibrahim Azzam Ahmad Ana Fi Intidharak Malleit Sonia M’barek Wahhab Ya Wardi Min Yishtirik Khalil Abonula Rima Khcheich Al-Atrash Ma ‘Alli w-‘Ultillu Wahhab Ya Di n-Na’im Simon Shaheen, director Presented in Association with the John F. Kennedy Center for the Performing Arts and the University Musical Society at the University of Michigan. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. 4 CAL PERFORMANCES CAL PERFORMANCES 5 Program Notes Cast Aswat Repertoire The Aswat Orchestra Fakkaruni (“Remind Me”) This traditional Arab orchestra features virtuoso instrumentalists playing violins, ouds, double An instrumental arrangement of a vocal master- an instrumental dance performed in his filmAfrita bass, cello, nay, qanun (zither) and percussion under the direction of maestro Simon Shaheen, piece composed in 1966 by Mohammad Abdel Hanim (“Jinni”), produced in Egypt in 1949. It was recreating the sound of the Golden Age. Wahhab and sung by Egyptian diva Um Kulthum. composed for dancer and actress Samia Gamal, The song starts with a lengthy introduction and in- who played the main role next to Al-Atrash. Director, Violin Simon Shaheen cludes several interludes that link together to form a fantastic instrumental. -
Westminsterresearch Song Is the Secret of of Existence: Fairouz And
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Song is the Secret of of Existence: Fairouz and the Arab Diaspora in London and Doha Issa, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Ms Dima Issa, 2019. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] SONG IS THE SECRET OF EXISTENCE: FAIROUZ AND THE ARAB DIASPORA IN LONDON AND DOHA DIMA ISSA A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS OF THE UNIVERSITY OF WESTMINSTER FOR THE DEGREE OF DOCTOR OF PHILOSOPHY July 2019 Abstract Nestling in the hearts and minds of her listeners, the Lebanese singer and performer, Fairouz, travels across land and seas, offering gentle reminders of the past or inspiring hope for the future. With the objective of exploring the role that Fairouz plays in the lives of the Arab diaspora, this project examines possible identity constructions and concepts of belonging, investigating how Fairouz factors in diasporic space and how her music offers opportunities to navigate individual and social positions in such space. Through an ethnographic study, focusing on in-depth interviews, narratives of 59 members of the Arab diaspora living in Doha, Qatar and London, England were heard, understood and categorised thematically, highlighting how music can elucidate and situate experiences of migration, positioning listeners on a fluctuating continuum, which moves beyond standard private and public lines of domesticity, nationalism and religion. -
Tomorrow You Will See How Beautiful Our Home Is
48 al-raida Issue 122 - 123 | Summer / Fall 2008 Tomorrow You Will See How Beautiful Our Home Is Hanan Kassab-Hassan I fear, when I talk about Fairouz, that I might slip into a nostalgic mode, or slip unwittingly into that translucid spot where childhood images mesh with the scents and sounds of cities, and that I might begin my discourse about Fairouz and end up by confounding Beirut with Damascus. Has Fairouz not always brought us together? Her voice is an inseparable part of the city, particularly when Damascus would wait the whole year for September, and when Beirut was only a by-way to Antelias, as if the traveler had only one destination, namely, her residence overlooking Rabieh. “You’ll see tomorrow, you’ll see how beautiful our home is ...”1 I always had a child-like conviction that she was singing that song only for us every time we used to journey to the Rahbani residence. For when we arrive there, it indeed was beautiful, and Fairouz used to greet us on the terrace with coffee cups in her hands. Fairouz sings about a little house in Canada nowadys. Did she favor snow over sunshine? Did she decide to travel? This song has stirred much controversy and has made headline news. The world would collapse if Fairouz were to leave for Canada! Fairouz in one of her concerts. Picture Credit: Marwan Assaf Fairouz is not Canada-bound, simply because the said ditty is a translation of “Ma Cabane au and the singer a woman, as is the case with Samra Canada”, but when it is delivered by Fairouz, it yam ‘uyun was’ah (i.e. -
Fairuz Sings the Hits of Loulou by Rahbani Brothers رهشأ
أشهر Fairuz Sings The Hits Of Loulou By Rahbani Brothers mp3, flac, wma أغاني لولو DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Sings The Hits Of Loulou By Rahbani Brothers أشهر أغاني لولو Country: Lebanon MP3 version RAR size: 1467 mb FLAC version RAR size: 1492 mb WMA version RAR size: 1514 mb Rating: 4.6 Votes: 115 Other Formats: VOC DMF MIDI AUD ASF DXD XM Tracklist Hide Credits Loulou: First Introduction A1 Composed By – Fréres Rahbani* Ensa Keef A2 Composed By – Fréres Rahbani*Lyrics By – Fréres Rahbani* Fi Ahwa Al Mafrak A3 Arranged By – Elias RahbaniComposed By – Fréres Rahbani*Lyrics By – Fréres Rahbani* Kanou Ya Habibi (Plaine Ma Plaine) A4 Composed By – L.Knipper*Lyrics By – Fréres Rahbani* Min Ezz Ennom B'tesrekni A5 *Lyrics By – Fréres Rahbaniفيلمون وهبي – Composed By Allah Maak Ya Hawana A6 Composed By – Fréres Rahbani*Lyrics By – Fréres Rahbani* Loulou: Second Introduction B1 Composed By – Elias Rahbani Rajine Ya Hawa B2 Composed By – Fréres Rahbani*Lyrics By – Fréres Rahbani* Sayf El Marajil Hekam B3 Composed By – Fréres Rahbani*Lyrics By – Fréres Rahbani* Nattarouna Ktir B4 Composed By – Ziad RahbaniLyrics By – Fréres Rahbani* Kaan Enna Tahoun B5 Composed By – Elias RahbaniLyrics By – Fréres Rahbani* Companies, etc. Distributed By – EMI Greece S.A. Manufactured By – EMI Greece S.A. Phonographic Copyright (p) – A. Chahine & Fils Pressed By – Columbia, Athens Notes Voix De L'Orient Series Produced By A. Chahine & Fils (P) 1979 A. Chahine & Fils, Beirut Made in Greece By EMI [Catalogue number 03 GVDL 312 on cover / GVDL 312 on LP] Barcode and Other Identifiers Matrix / Runout (Labels Side A): SCVO 1490 Matrix / Runout (Labels Side B): SCVO 1491 Rights Society: SACEM SACD SDRM SGDL Other: MT 8143 Other versions Category Artist Title (Format) Label Category Country Year Sings The Hits Of Loulou By Voix De 03 TC-GVDL أشهر TC-GVDL Rahbani Brothers 03 Fairuz Lebanon Unknown Cass, Album, L'Orient 312) أغاني لولو 312 RE) Related Music albums to Sings The Hits Of Loulou By by Fairuz أشهر أغاني لولو Rahbani Brothers 1. -
Fairouz Centre Culturel Du Livre Édition / Distribution 6, Rue Du Tigre
Fairouz Centre culturel du livre Édition / Distribution 6, rue du Tigre. Casablanca Tél : +212522810406 Fax : +212522810407 [email protected] Première édition 2021 Dépôt légal: 2021MO0000 ISBN: 978-9920-627-80-1 Fairouz La voisine de la lune La légende Elie EL ACHKAR Table des matières Remerciements et Avertissement ……………………….… 7 Introduction………………………………………………... 9 Préface…………………………………………………….. 11 Avant-propos……………………………………………… 15 Chapitre I : Biographie……..……………………………. 19 D’une rencontre à l’autre………………………………….. 21 Les frères Rahbânî…………………………………………. 22 Une rencontre déterminante……………………………….. 25 Chapitre II ………………………………………..………. 28 La naissance de la chanson rahbanienne…………………... 28 Baalbek, un rendez-vous avec l’histoire…………………… 28 Le théâtre Piccadilly, ou l’étape urbaine…………………... 35 Son œuvre………………………………………………….. 50 Le theater…………………………………………………... 50 Le cinema………………………………………………….. 52 À la television……………………………………………… 53 Discographie selective…………………………………….. 54 Décorations pour Fairouz………………………………….. 57 Constat…………………………………………………….. 58 Conclusion………………………………………………… 64 Nota bene………………………………………………….. 67 5 Chapitre III : Textes et poèmes choisis Mis en musique et interprétés………………………….. 71 71 …………………………… زھرة المدائن …La Rose des villes 74 …..…………… أعطني الناي وغن Donne-moi le ney et chante Sakana al-Laylu (La nuit se calme)……………………….. 75 80 …..………………………………………… المحبة L’amour 85 …..…..……………………… غنيت مكة Je chante la Mecque 86 ….……………… سنرجع يوماً..... Nous retournerons un jour Chapitre IV : Si Fairouz se racontait…………………….. 90 -
Quadrívium Revista Digital De Musicologia 10 (2019)
QUADRÍVIUM REVISTA DIGITAL DE MUSICOLOGIA 10 (2019) The Arabic music migrated to the West Youssef Tannous Holy Spirit University of Kaslik (Lebanon) RESUM Tota música té característiques segons la civilització a la qual pertany i segons l’evolució del seu llenguatge musical i l’aculturació amb la música d’altres cultures. La música àrab té les seues pròpies característiques, especialment en l’àmbit melòdic, amb dotzenes de maqām- s, i en l’àmbit rítmic, amb les seues cent combinacions rítmiques, que defineix la seua identitat. En obrir-se a la música occidental des del segle XIX, va prendre elements d’aquesta música, com l’harmonia, la composició orquestral i les formes musicals. Per a presentar la seua música en l’estil occidental, alguns músics àrabs sacrificaren els maqām-s atemperats per a adequar-los al sistema musical temperat de la música occidental. Alguns ho consideren un enriquiment per a la música àrab; altres ho consideren una pèrdua de la identitat. Podria aquesta música occidentalitzada perdre la seua identitat? Podria servir a la música àrab tant com a la música occidental? Paraules Clau: Música; àrab; occidental; escala; mode; harmonització; temperament; polifonia; orquestració; arranjament RESUMEN Toda música tiene características según la civilización a la que pertenece y según la evolución de su lenguaje musical y su aculturación con la música de otras civilizaciones. La música árabe tiene sus propias características, especialmente a nivel melódico, con sus docenas de maqām-s, y a nivel rítmico, con sus cien combinaciones rítmicas, que definen su identidad. Al abrirse a la música occidental desde el siglo XIX, tomó prestados elementos de esta música, como la armonía, la composición orquestal y las formas musicales. -
American University of Beirut Interdialectal Communication and Code Switching in Pan-Arab Reality Television the Case of Arab Idol
AMERICAN UNIVERSITY OF BEIRUT INTERDIALECTAL COMMUNICATION AND CODE SWITCHING IN PAN-ARAB REALITY TELEVISION THE CASE OF ARAB IDOL by GENEVIEVE MARIE HECKEL A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts to the Center for Arab and Middle Eastern Studies of the Faculty of Arts and Sciences at the American University of Beirut Beirut, Lebanon September 2014 _• .. • . _ . c . .". - '- ---- ._-._---- _. - -"-. -,- -._... "- - --- --"- -,"..:.., .. AMERICAN UNIVERSITY OF BEIRUT INTERDIALECTAL COMMUNICATION AND CODE SWITCHING IN PAN-ARAB REALITY TELEVISION THE CASE OF ARAB IDOL by GENEVIEVE MARIE HECKEL Dr. David Wilmsen, Associate Professor Advisor Department of Arabic and Near Eastern Languages Dr. Nabil Dajani, Professor Member of Committee Department of Sociology, Anthropology and Media Studies Dr. Micha rmy, Assistant Professor Member of Committee Department of English Date of thesis defense: September 12,2014 AMERICAN UNIVERSITY OF BEIRUT THESIS, DISSERTATION, PROJECT RELEASE FORM Student Name: ---Heckel._---- Genevieve----------' Marie --- Last First Middle • Master's Thesis o Master's Project o Doctoral Dissertation [K] I authorize the American University ofBeirut to: (a) reproduce hard or electronic copies ofmy thesis, dissertation, or project; (b) include such copies in the archives and digital repositories ofthe University; and (c) make freely available such copies to third parties for research or educational purposes. o I authorize the American University ofBeirut, three years after the date of submitting my thesis, dissertation, or project, to: (a) reproduce hard or electronic copies ofit; (b) include such copies in the archives and digital repositories ofthe University; and (c) make freely available such copies to third parties for research or educational purposes.