On the musical level, the Algérie is famous for its rich person repertory. Several styles of music there are found: traditional arabo-Andalusian Algerian, the Spoke, the Chaâbi, the Music kabyle, the Music diwane and more recently the Rock'n'roll, or the Rap. It is also characterized by the linguistic richness from its repertory mixing classical Arabic, Algerian Arab, French and the Amazigh (known as Berbère S) such as Kabyle, Chaoui, Tuareg, etc…
See also: arabo-Andalusian Music
The arabo-Andalusian classical music, of Arab expression (traditional), is present in Algeria, through three important schools: the Ghernati of Tlemcen which asserts Grenade, the Ça' naa of Algiers which asserts Cordoue and the Malouf of Constantine which asserts Seville. Each one of these schools practice this music with certain nuances. In the three schools this practice is represented by the spree , which corresponds to an instrumental and vocal composition which proceeds according to an established order and rhythmic and modal rules well defined. Each spree is built on a mode ( ) precise from which it draws its name.
The various movements which compose it and which are accelerating, are the following:
Daira : Vocal part of free rate/rhythm carried out in strict unison.
- Mestekhber : Instrumental prelude of free rate/rhythm, carried out in unison.
- Touchia : Instrumental part being used as opening, made up on a binary or quaternary rate/rhythm (2/4; 4/4).
- Mçedder : The most important vocal and instrumental part of the Spree, exploited a rate/rhythm 4/4.
- Btayhi : Second vocal and instrumental part, built on the same rate/rhythm as Mçedder (4/4 less slow).
- Derdj : Vocal and instrumental movement built on a binary rate/rhythm, more accelerated than the two preceding parts.
- Touchiat el inçirafate : Instrumental part announcing an accelerated part and lives, built on a ternary rate/rhythm.
- Inçiraf : Vocal and instrumental movement with ternary rate/rhythm (5/8).
- Khlass : Ultimate sung part of the Spree, it is carried out on a rate/rhythm alert and dancing (6/8).
- Touchiat el Kamal : it is an instrumental part built on a binary or quaternary rate/rhythm.
On the 24 sprees which exist, one knows only 12 complete. It acts: Spree Dhil, Spree Ghrib, Spree Hsine, Spree Maya, Spree Mezmoum, Spree Mdjenba, Spree Rasd, Spree Rasd Eddil, Spree Reml, Spree Reml Maya, Spree Sika, Spree Zidane.
The large Masters of this music name themselves: Mohammed Ben Teffahi, Rédouane Bensari, Sheik Larbi Bensari, Mahieddine Bachetarzi, Abdelkrim Dali, Dahmane Ben Achour, Cheikha Tetma, Fadhéla Dziria, El Hadj Ghaffour, Mohamed Khaznadji, Saddek el Bedjaoui, Sid Ahmed Serri, Mohamed Sfindja.
It is about a musical genre Tlemcen very old IEN which coexisted with the arabo-Andalusian music. Expressed in classical Arabic, it also derives from the arabo-Andalusian Musique, and more particularly from the school of Tlemcen: the Ghernati. This musical genre was largely widespread in Algeria especially thanks to the poet musician BenMessaieb (XVIIe S). It will influence later Chaabi, local musical genre, of the area of Algiers, created at the 20th century. spree of zabi
Ahmed Bestandji, Omar Chenoufi says Chaqleb Esseghir, Abderrahmane Karabaghli, Mohamed Tahar El Fergani, Sheik Raymond, Abdelmoumene Bentobbal, Mustapha Remli
See also: Chaâbi
Music born at the beginning of the 20th century. Expressed in dialectical Arabic and Kabyle, it derives from the arabo-Andalusian Musique, with several Berber influences (Achewiq kabyle primarily). It is practiced primarily in the area of Algiers.
See also: Spoke
Music born at the beginning of the 20th century. Expressed in dialectical Arabic, it was born in the area from Oran in its primitive form and was popularized by stages in the remainder of the Algérie; it conquers the world after having undergone many enrichments and perfectionnments in Occident. This music comes from a mixture of music arabo-Moslem woman and a Western modern orchestration (synthetizers, electric guitars etc.). This new music thus required one phrased more flexible and modern from where the employment of the Oranian Algerian Arab mixed with French or English words. Supported in Occident by the young immigrants of various Maghrebian origin in search for a music resembling to them, this music especially continued in France (then in Europe and the whole world) before reconquering the young people of Algeria where its beginnings were been sulky by the adult population which did not see it good eye at the beginning. This music born in Oran in a simple form thus found its noble letters in Occident (where it considerably grew rich, diversified and internationalized) before regaining the heart of the young inhabitants of the countries arabo-Moslems. Let us quote like examples, the collaboration of the French type-setter JJ Goldman with the singer Cheb Khalid who will write to him one of these the larger tubes world " AICHA" or the collaboration of Cheb Mami with the international singer Sting and of the groups of French Celtic music. The singer Rachid Taha of the " group; chart of séjour" is more to classify in the Rock category even if this more former Maghrebian artist on the French scene sometimes interpreted songs SPOKE or RnB. These attempts of modernization or occidentalization of the Arab music started in the Seventies in Egyptian music studios (Egypt having been a long time country more at a peak of the world arabo-Moslem in the musical fields and cinematographic). However, these Egyptian attempts avant-gardists did not find positive feedbacks near the population Arabic-speaking person of the time, surely by lack of the phrased good related to the Egyptian linguistic history and of a receptive public in these years there. But, from these Egyptian attempts at modernization the singer Egypto-Belgian Natacha Atlas will be born a few years later (whom one classifies in Occident in the SPOKE category) which will receive in France a victory of the music and a recognition which will exceed the borders of the community arabo-Moslem woman of Europe. Let us recall that the singer Lebanese FAÏROUZ was one of the pionnières in the occidentalization of the classical Arabic music in some of her songs. Also let us quote the album " Arabesque" of the Franco-British singer Jane Birkin (in partnership with Maghrebian artists of Europe modernistic contemporaries) which accepted an excellent echo in the whole world. Notons that this occidentalization of the Eastern music also occurred in Germany with young German of Turkish origin (as one classifies in the SPOKE category because of resemblance of sonorities and the technique used). Aujoud' today of the artists arabo-Moslems adapted the SPOKE and these alternatives born in Europe and transformed it according to the cultural and musical identities of their country, as that occurs for all the musical genres (example of the Spoke-RnB of the singer Amine Free-Morrocan or the combination Indian Spoke-Music of its colleague, the French singer Leslie)
See also: Music Kabyle
The most known interprêtes: Slimane Azem, Sherif Kheddam, Sheik El Hasnaoui, Chérifa, Matoub Lounès, Lounis Has Menguellet, Idir, Rabah Asma, Brahim Izri, Takfarinas, Djamel Allam, Massa Bouchafa, Allaoua Zarouki, Farid Gaya, Hanifa, Sami Djazaïri, Akli Yahyaten, Bahya Farah, Nouara, Taos Amrouche, Sadaoui Salah, Djurdjura, Lani Rabah, Chérif Hamani, Kheloui Lounès, Youcef abdjaoui, Karim Abdjaoui , Hsicen, Ahrès Hacen, Kamel Rayeh, Zedek Mouloud, Ferhat Imazighen Imoula, Izri Brahim, Moh Smail, Hamidouche, Farid Feragui…
3rd popular music of festival of Algeria east, certainly, the " staifi" after the " Rai" and the " Kabyle". Based on the rate/rhythm " zendari" rate/rhythm originating in Constantine and also on an accompaniment present in the keyboard, this music is very present today in all the Maghrebian festivals. The first were Samir Staifi, Bekhachi El Khier, Djamel, Nordine, bentoumi Mohamed and others.
Traditional style Berber of the area of the Aurès (Ain Beida), of expression Arab Chaoui E and . It derive from traditional the Rahabas, grouping of man dancing face to face by entonnant polyphonic songs accompanied by Gasba S and Bendir S. The particular rate/rhythm of blessing at Chaouis are found in almost all the songs auressiennes. The most known interpreters are Katchou, Hamid Belbeche, Houria Aïchi, Nocceredine Hora and Massinisa.
Traditional style of the south Algerian but different from the style gnawi specifically of the Morocco, Arab expression tergui and (dialectal). It is about an ancestral music imported of the Black Africa towards the the Maghreb practiced mainly by the musicians of brotherhoods gnawa as regards Morocco, influenced, inter alia, by the Tindé (style of the Algerian extreme-South), the Ahellil (Timimoun).
The most known interpreters are: Othmane Bali, Hesna El Becharia, Diwane Biskra, Gaâda - Diwane Bechar, Gnawa Diffusion, Karim Ziad.
Since the beginning of the years 1970, the Algerian music diversified in contact with the Occidental culture. The Charles Aznavour, Oum Kalthoum, Farid El Atrache, Jimi Hendrix, Beatles, and others Michael Jackson and Madonna largely influenced several Algerian artists pushing them to adapt various musical styles come from Occident and the East to the Algerian culture. It is as that which one saw appearing variety (Western tendency and Eastern tendency), Rock, the Rap or the Reggae in Algérie.
Eastern musicPrincipal interprêtes: Cracked Ababsa, Warda Al Jazairia as Salim Hallali with the voice quite Eastern but which also sings under different other popular styles.
Western varietiesPrincipal interprêtes: Baaziz, Hocine Lasnami, Triana of Algiers.
It is under the influence of the Rolling Stones, the Pink Floyd, or of Johnny Hallyday, that the rock'n'roll is born in Algeria at the end of the years 1970. A group been immediately an enormous success, it acts of T34, named thus because the latter repeated in room 34 of the building T of one of the university residences of Algiers (with Ben Aknoun). The scene rock'n'roll also revealed other artists like Moh KG-2, or Jimmy Oihid which added to its music of the features of Blues and of Reggae. It is in the Algerian universities that continued to appear new rock groups, and in the middle of the years 1990, a harder rock'n'roll started to appear in Algérie: the Death metal, with for figurehead the group Litham. With the beginning of the year 2000, with the return to the mode of the music gnawa, a new style appears: rock'n'roll-gnawi, mixing Electric guitar, low Guitar and Kerkabou.
Principal rockeurs and groups of Rock'n'roll in Algeria: Abranis, Sheik Sidi Flat, Hamid Baroudi, Of zaïr, Index, Djamel Laroussi, Jimmy Oihid, Litham, Djezma, Good Noise, Moh KG-2, T34, Belaid branis (Kabylie).
See also: Algerian Rap
The rap was born in Algeria in 1985 with a first title recorded by Hamidou: Jawla Fe Lil. This title of very American influence, was going to open the way with several groups which are born in Algiers as of the end of the year 1980, whose Hamma and Intik, but will be braked by the lack of confidence of the editors, as well as the censure. The true rise of the Algerian rap takes place at the end of the years 1990, with the diffusion with the Algerian radio and ENTV several titles of rap, as well as the appearance of several artists with Oran and Annaba.
The first compilation is published in France under the title of Algerap, which makes that quickly two groups will be exported abroad since 1999, it acts of MBS and Intik, but know that little success near a public which includes/understands only very badly their words (in Algerian Arabic ). In Algeria, it is certain a Lotfi Double Kanon (resulting from the separation of the group Double Kanon) which makes a tobacco. Between 2001 and 2004, the Algerian rap gave the impression to be blown, before reconsidering the front of the scene with the exit of several new albums.
Darbouka : instrument membranophone.
- Bendir : instrument membranophone, with the sound bourdonnant, which can be equipped with Cymbal ttes metal
- the Riqq
Algerian music Videos MP3
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