Halim El Roumi

Total Page:16

File Type:pdf, Size:1020Kb

Halim El Roumi Halim El Roumi was a Lebanese musician. He was the father of the (يمورلا ميلح Halim El Roumi (in Arabic Lebanese singer, Majida El Roumi. He died in 1983. Born in Lebanon to Lebanese parents, Halim El Roumi started his artistic life as an amateur in 1935 and then enrolled in the High Institute of Arabic Music in Egypt where he acquired his (ىندألا قرشلا ةعاذإ) diploma in 1939. He worked in Egyptian radio station and Radio Orient station as the(نانبل ةعاذإ )until the year 1950 when he was offered a job in the Radio Lebanon head of the Music section, a job which he retained for 30 years. He helped in the development .tation especially through the establishment of its musical bandس and restructuring of the Halim El Roumi was the one who discovered Nuhad Hadad (Fairuz). He heard her singing in a school concert and offered her a job at Radio Lebanon in April 1950. He chose the name Fairuz for her and trained her until she was ready to present her first songs like "You left My Heart" (Tarakt Albi), "Love You No Matter What I See From You" (A7ibak Mahma Ashouf Minak). He also worked with several other singers like Nasri Shamseddine, Mary Jubran, Wadih El Safi, Nour El Houda, Sabah, Souad Mohamad, Fayza Ahmed, Najat El Saghera. He also supported his daughter Majida El Roumi after initially objecting to it. But after hearing her sing "Ya Toyour" in the musical contest program "Studio El Fan", he agreed. He composed "Ounshoudat al Ummahat" for her, followed by a string of hits like "Iter", "La Taghdabi", "Salawna", "Lubnan Qalbi", "Isma3 Albi", "Marart Fi Khayali", "Ya Mkahhal Rimshak", "Ya La'emi Fi Hawak and "Mimi". Besides the songs he presented in his own voice, Halim El Roumi participated in few movies like "Moon 14" (Amar 14). Halim El Roumi died in 1983 at age 63, after around 10 years of struggling with diabetes. .
Recommended publications
  • 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.
    [Show full text]
  • The Journey of Jewish Arab Singers
    Riches To Rags To Virtual Riches: The Journey Of Jewish Arab Singers Shoshana Gabay. Ills. Joseph Sassoon Semah Some of the most revered musicians from the Arab world moved to Israel in the 1950s and 60s, where they became manual laborers and their art was lost within a generation. Now, with the advent of YouTube, their masterpieces are getting a new lease on life and new generations of Arab youth have come to appreciate their genius. Part one of a musical journey beginning in Israel’s Mizrahi neighborhoods of the 1950s and leading up to the Palestinian singer Mohammed Assaf. The birth of the Internet awakens our slumbering memory. Sometime in the 1950s and early 1960s, the best artists from the metropolises of the Levant landed on the barren soil of Israel, from: Cairo, Damascus, Marrakesh, Baghdad and Sana’a. Among them were musicians, composers and singers. It didn’t take them long to find themselves without their fancy clothing and on their way to hard physical work in fields and factories. At night they would return to their art to boost morale among the people of their community. Some of the scenes and sounds which at the time would not have been broadcast on the Israeli media have little by little, been uploaded to YouTube in recent years. Through the fall of the virtual wall between us and the Islamic states, we have been exposed to an abundance of footage of great Arab music by the best artists. This development has liberated us from the stranglehold and siege we have been under, allowing us to reconstruct some of the mosaic of our Mizrahi childhood, which has hardly been documented, if at all.
    [Show full text]
  • Critically Exploring Service Employees' C
    Customer Incivility from Frequent Customers in the Context of Service Relationships: Critically Exploring Service Employees’ Coping Tactics Nolla Haidar School of Management Royal Holloway, University of London Doctor of Philosophy 1 Declaration of authorship I, Nolla Haidar, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 02-02-2020 2 Acknowledgments I would like to thank every person who made this PhD journey possible. First, I would like to express my deepest gratitude to my supervisors Prof. Fiona Moore and Dr. Louise Ashley for their unwavering support, continious motivation, insightful feedback and foremost for believing in me. Without your “beyond words” presence throughout this journey, the outcome would have never been possible. I appreciate all your time you have invested in correcting my thesis, inspiring me and triggering my thoughts. I would also like to thank Dr. Laura Christie for reading throughout my chapters and for her unique motivation and inspiration. Second, I would like to thank dearly my parents, my siblings and their families for always believing in me and for absorbing my anger throughout this journey. I made it through because of your unconditional love and support. I will always be indebted to you. Thirdly, I would like to express my gratitude, love and respect to my husband Dr. Ziad Al Tanoury. Ziad has always been my number one motivator, and I thank him for reading my chapters and for his valuable feedback. Forthly, I am grateful for every person who supported me during this journey.
    [Show full text]
  • Melhem Barakat Was a Singer, Songwriter, Composer and Actor Born in 1942 in Lebanon
    “I imagine while Melhem composing... I imagine fog, dawn Barakat and water...” Melhem Barakat was a singer, songwriter, composer and actor born in 1942 in Lebanon. His passion for music was nurtured by his father when he began teaching him how to play the oud as a young boy. His musical talent became evident to his family and friends when he composed lyrics to a song using words written in a school journal. He also used to sing and regularly perform at school recitals and talent shows. When he turned 16 years old, Barakat decided to drop out of school and enroll himself at the National Institute of Music in Lebanon where he studied music theory, Arabic singing and Solfège. DID YOU KNOW? Barakat also created his own musical Barakat took great pride in only genre through his stage performance and singing in colloquial Lebanese musical compositions; he was known for his dialect, especially during a time energetic melodies that mixed his unique style in improvisation with classical Arabic where Arab singers favoured music. singing in Egyptian dialect due to its popularity. Since the beginning of his career in the 1960s, Barakat achieved colossal stardom in the Arab world, most notably in Lebanon, FUN FACT Syria, and Jordan. His musical repertoire had many successes and he composed Solfège is a musical system found in songs for some of Lebanon’s most beloved all cultures around the world and is singers including, Sabah, Wadih El Safi and associated with the famous musical Magida El Roumi. pattern do-re-me-fa-so-la-ti.
    [Show full text]
  • Analysis of Lebanese Songs Depicting War Effects by Maryse
    LEBANESE AMERICAN UNIVERSITY Discourse Evolution: Analysis of Lebanese Songs Depicting War Effects By Maryse Karam A thesis Submitted in partial fulfillment of the requirements For the degree of Master of Arts in Education School of Arts and Sciences February 2015 © 2015 Maryse Karam All Rights Reserved Signatures Redacted ii Signatures Redacted iii Signatures Redacted iv Dedication To my father. You are my role model in love, generosity, and civic values. I could not have asked for a better father, and I would not trade you for the world. To my mother. Your singing voice is home to me; its echo fills my childhood memories with happiness and consolation. I am who I am because of your unfailing love. May your priceless joy and heart-warming songs keep on inspiring many generations to come. To my elder sisters. You teach me to do things well. I look up to you. And though I often give you a hard time, I love you dearly. v Acknowledgment Much acknowledgment is due to Dr. Rima Bahous. Her welcoming office and her personal and loving follow-up make her a teaching role model to many. I would like to thank Drs. Mona Nabhani and Nadra Assaf for their valuable input and follow-up. Special thanks go to Dr. Assaf for her irreplaceable help in contacting some of the musicians. Many thanks as well to the musicians themselves for their warm welcome and generous time; to Mr. Charbel Rouhana, Mr. Farid Sabbagh, Mr. Georges Khabbaz and Mr. Ghassan Rahbani. I would also like to thank Mr.
    [Show full text]
  • Magida El Roumi Was Born in 1956 in Lebanon
    “Music can speak out louder than words. I will use my Magida music and my voice to speak out on behalf of the needy and undernourished El Roumi everywhere.” The classical Arabic soprano singer Magida El Roumi was born in 1956 in Lebanon. She comes from a musical family and her father was the Lebanese composer Halim El Roumi. Her musical influences growing up were great Arab singers such as Mohammed Abdel Wahab, Umm Kulthum, and Fairuz. Magida’s singing talent was apparent from an early age, her family recognised this talent and encouraged her to perform professionally. In 1974, she took part in a televised Lebanese talent show, Studio DID YOU KNOW? El Fan, where she performed songs by Asmahan and Layla Murad and was Magida earned a degree awarded first place. in Arabic Literature from the Lebanese University. In 1976, Magida caught the attention of the Egyptian director Youssef Chahine, who cast her in his hit film,The Return of the FUN FACT Prodigal Son. She performed three tracks for the film. Magida has been a UN Goodwill Ambassador since 2001 and has Magida El Roumi has released 13 supported numerous charities and albums and has performed concerts and humanitarian efforts around the participated in major festivals around the world. world. She is endearingly referred to as “the angel of Arab music” due to her powerful singing voice and lyrics. MUSICAL TERM Magida El Roumi is among an illustrious Soprano: A singer with the highest group of renowned classical Arab voice is a soprano. A soprano is musicians to have emerged from Lebanon usually a woman with a voice that such as Fairuz, Sabah and Wadih El Safi.
    [Show full text]
  • ARABIC SONGS PDF List
    SingMasters Arabic Songs: 843 Songs Song No. Singer Name Song Title 380000 3asi el 7lani 3etr elma7ba 380001 3asi el 7lani daim doom 380002 3asy el halani forset omr 380003 3asy el halani gali 380004 3bd elmjed 3bdalah 3la alah 380005 3bd elmjed 3bdalah enti 7elwa 380006 3bd elmjed 3bdalah ya b3dohom 380007 4 cats kan 3na ta7oon 380008 4 cats leal nhar 380009 5aled ajaje as3ab 7ob 380010 5aled ajaje t3ala li 380011 5aled ajaje wa7dani 380012 5aled ajaje wla dam3a 380013 a3alia koko wawa 380014 abd alah alrowashed 3la allah 380015 abd alah alrowashed hazi anti 380016 abd alah alrowashed ms2alet wa2t 380017 Abd alla salem a3zorni 390032 Abd El Halim Hafez Asmar Asmarani 390156 Abd Elfatah Elgreny ya rab 390158 Abdel Fatah El Greeny Ya Rab Tmoot 360001 Abdel Halim Hafez Ahwak 360008 Abdel Halim Hafez Hawel Teftekerni 360009 Abdel Halim Hafez Machghoul Wi Hyatik 360010 Abdel Halim Hafez Awel Marra 360031 Abdel Halim Hafez Qareat Al Fengan 360042 Abdel Halim Hafez Hafez Sodfa 360043 Abdel Halim Hafez Asmar Ya Asmarani 360047 Abdel Halim Hafez Ana Kol Ma Gool Ettouba 360056 Abdel Halim Hafez Sawah 360057 Abdel Halim Hafez Sawah 360061 Abdel Halim Hafez Chaghalouni 360064 Abdel Halim Hafez Ala Hesb Wedad 360006 Abdel Rab Idris Law Bagi Leila 390093 Abdul Majeed Abdullah Kol 3am O Enta El 7ob 390121 Abdullah Al Rowaished Rahalty 360044 Abdulrahman Mohammed Asabaka 3eshq 360050 Abu and Yousra 3 Daqat 380023 Adam Elly Akal Elharam 390014 Adel Ibrahim Ah Ya London 390088 Adwaard Iz Iz Kabooriya 380026 agani atfal toot 1 www.SingMasters.com [email protected] SingMasters Arabic Songs: 843 Songs Song No.
    [Show full text]
  • Performance of the Copyright Industry in Lebanon
    Performance of the Copyright Industries in Lebanon FINAL DRAFT REPORT By Roger MELKI NOVEMBER 27, 2002 The opinions and views expressed herein are solely those of the author and should not be attributed to WIPO or his employer. Copyright Industries in Lebanon DRAFT 3/16/04 1/80 OUTLINE I. Introduction ............................................................................................................4 II. The Publishing Industry .......................................................................................5 1. General trends and performance of firms ....................................................................5 2. Supply conditions ........................................................................................................8 Major players...............................................................................................................9 Size and geographic concentration............................................................................11 Employment and human resources............................................................................11 Finance and capital investments................................................................................14 3. Demand conditions....................................................................................................14 Output and main types of products............................................................................14 Imports.......................................................................................................................15
    [Show full text]
  • Cultural Policies in Algeria, Egypt, Jordan, Lebanon, Morocco, Palestine, Syria and Tunisia an Introduction
    Cultural Policies in Algeria, Egypt, Jordan, Lebanon, Morocco, Palestine, Syria and Tunisia An Introduction Cultural Policies in Algeria, Egypt, Jordan, Lebanon, Morocco, Palestine, Syria and Tunisia An Introduction Culture Resource (Al Mawred Al Thaqafy) European Cultural Foundation Boekmanstudies 5 Foreword by Odile Chenal and Philipp Dietachmair Interesting dynamics are at play on the cultural scene in the Arab world. Not only a rapid expansion of the contemporary art market and a growing interest of international art experts and dealers for the artistic creativity in the Arab region can be observed, but also, more profoundly, the development of an independent cultural sector. In a political context, which remains very difficult in most of the Arab countries, a new generation of internationally connected cultural players has managed to open independent spaces for contemporary artistic creation throughout the whole region, and to create the first frameworks and tools for cultural leadership and management. These changes cannot remain without impact on governments’ role and accountability in cultural life; and these cultural actors will start questioning public cultural policies more loudly. Unlike what many in the “West” probably think, cultural policies do indeed exist in the Arab world. In most of the Arab countries Ministries of Culture were established in the 1950s and 1960s, earlier than in several of their European neighbours. This does not mean, however, that these ministries and their sometimes prolific administration produce consistent cultural strategies. Generally speaking, there is very little or no transparency about decision making mechanisms, and very little or no consultation about needs and priorities. There is an evident lack of public information and public debate with a free exchange of arguments.
    [Show full text]
  • Issue Nº 2 | Summer 2012
    At LAU, diversity is not skin-deep. It goes to the heart of what we do. & ALUMNI BULLETIN VOLUME 14 | issue nº 2 | Summer 2012 CONTENTS FEATURES 8 UMC–RH’s metamorphosis 4 The Wild Green 10 Donor profile: Antoun Sehnaoui Yonder 11 SOP reaccreditation Ecotourism awakens at the edges of 16 Major theater production: Fantasia Opus3 Lebanon’s urban sprawl 17 LAU Trustee Paul Boulos From mountain trekking to village visits, ecotourism is a growth industry in Lebanon, and one with high hopes of 18 Interprofessional Education protecting the environment as well as rural economies. 19 Faculty profile: Ahmad Houri Muriel Kahwagi reports. 24 LAU gala dinner 12 Waste Knot 26 Ecotourism lecture and workshop Recyclers big and small take on the 27 OARC robot competition nation’s trash problem 28 UMC-RH new appointment Large-scale recycling is still in its infancy in Lebanon, 29 Staff on the move despite the country’s conspicuous solid-waste problem, but informal gleaning is ubiquitous. Jessica Hollows looks 30 Faculty on the move into the offices of the big firms and the underworld of 36 New U.S. alumni chapters enterprising zabbaleen. 37 Gulf galas raise scholarship funds 38 Vice President Rumsey’s farewell 20 No Stroll in the Park 39 Faculty profile: Brigitte Wex The challenges of greening a concrete city 40 Campus Notes Beirut is a “heat island” notoriously lacking in parks 44 Library open house and public gardens, but assorted architects, activists, 45 Staff profile: Karam Karam and visionaries are presenting blueprints for the greening of a gray city.
    [Show full text]
  • Joseph Sassoon Semah &A
    The Art Of Cooking – Hummus With Minced Meat Hummus in Israel can be comparable to Pizza for Italians! Normally the Hummus can be enjoyed plain or with some extra. One day in Israel me and my dad visited Caesarea as a couple of tourists, and to our surprise we tumbled upon this Hummus dish topped with warmly spiced minced meat. That moment left a strong impact on us and I have been making it ever since. The smooth texture of the Hummus combined with the savory bites of the minced meat creates a balanced taste at the moment you scoop as much as you can with a small piece of pita bread. Trust me, this is the way to eat Hummus, scooping as much as you can with a small piece of pita bread – but do not get it on your fingers, there’s a limit! Hummus Ingredients: 1 Large Can Chickpeas Tahini (a paste made from sesame seeds) 2 Cloves of garlic Lemon juice Olive oil Coldwater Salt Ingredients for the minced meat: 200-gram Minced meat (you can choose either lamb or beef) 2 Cloves of garlic Paprika powder Cumin powder Salt & Pepper Cooking oil Toppings: Olive oil Pine Nuts Fresh Parsley Making the Hummus: Inside a blender add the chickpeas, two tablespoons of tahini with the garlic, a pinch of salt, a squirt of lemon juice, and a drizzle of olive oil. Now it is all about finding the perfect texture and flavor that you want! Keep tasting by adding a small amount of cold water to make the texture smoother.
    [Show full text]
  • Oriental Music*
    Oriental Music* Course Name** Description Maqam Theory The course focuses on the scale aspect of the modal framework of Arabic music – the maqam (the maqam is a meta-scheme of sorts that embodies myriad musical and extra-musical factors characterizing it, of which the scale is one of its main components). We will attempt to organize and reclassify the tens of prevailing maqams (according to four basic families), and to expose the numerous relations between them. Furthermore, we will try to understand the tetrachord structure of the musical scales and the possible combinations between them, the various steps, the many transpositions and the characteristic and atypical alliterations. The course will also discuss the modulation modes between the various maqams and the manifest and hidden regularity guiding performers in practice. The course also examines the numerous musical factors of the maqam (most of them unconscious and hidden) included in its definition, and the extra-musical factors characterizing it. Students will hear examples of Arabic music – vocal and instrumental, improvised and composed – and will follow the various implementation of maqams in practice, and the modal characteristics of each maqam. History of Arabic Music The course surveys the history of Arabic music from the period prior to the emergence of the Islam and up to the middle of the 19th century, underscoring types of sources from which the history of Arabic music can be learned. In addition to the focus on knowledge we have about the music and musical theory that accompanied it, the course also discusses the philosophy of music as reflected in the writings of Arab philosophers and the attitude of Islam to music.
    [Show full text]