Mohamed Saâda

Mohamed Saâda (rear RTL محمدسعادة), born the July 22nd 1937 with Tunis and deceased the January 11th 2005, is a musicologist, Leader and Compositeur Tunisia N.

Training

Developing an early musical gift, Mohamed Saâda impassions himself as of his childhood for the Musique while listening of old man discs on a Phonographe and while learning how to play of the nay as of the 5 years age. At 13 years, it is registered with the academy of music and obtains there two diplomas in Arab Musique and virtuosity of the nay. His/her father Mohamed Mokhtar Saâda, zitounien of formation, founder of the satirical newspaper Ennasnés , very not filled with enthusiasm by the artistic ambitions of his son junior, does not oppose it nevertheless.

Mohamed Saâda forms then part of Rachidia directed by Salah El Mahdi (1953). Occurring at the sides of highly skilled instrumentalists such as Khemaïs Tarnane, Ali Sriti and Brahim Salah, he is the youngest member. In 1988, it founds the musical unit El Fen El Arabi dedicated to the arabo-Turkish Classical music instrumental.

Type-setter

Saâda composed of the instrumental parts, the traditional Poème S, the Muwashshah S, the songs for children - he is the founder of the Chorale children of Tunisian radio-television - and dramatic opera S, in particular Malhamet Ennasr (the Epopee of the Victoire) which gains the gold medal with the Arab Festival of music of Damas in 1965. It is a precursor in the musical composition polyphonic and harmonic in Tunisia.

Saâda in addition composed the music of several plays, of which Es' soud (the Ripe one) of Mahmoud Messaadi, Antigone , the Merchant of Venice and Dreams of Carthage , as well as several films of which Under the Rain of the Fall of Ahmed Khechine (1970) and With the country of Tararanni of Férid Boughedir, Hammouda Ben Halima and Hédi Ben Khelifa (1975). In 1967, it composes the Hymne of the Mediterranean Jeux organized in Tunisia. In 1980, it is charged to compose the Hymne of the Arab Ligue.

Mohamed Saâda starts in 2004 the composition of a romantic opera Wallada wa Ibn Zaydoun , on a booklet of the Poète and Tunisian writer Abderrazak Karabaka, inspired of the history of love between the Andalusian poet Ibn Zaydoun (1003 - 1071) and the princess omeyyade Wallada of Cordoue (1011 - 1091). This work which is due to him very in heart remains partly unfinished. Deceased on January 11th, 2005, at the 67 years age, it is buried with the cemetery of Djellaz of Tunis the January 12th.

Musicologist

Mohamed Saâda is the author of many scientific studies of which:

the Andalusian tradition in the Tunisian music (1963)
the voice and time in the Tunisian popular music (1964)
Arab music in the search of a musical notation (1977)
characteristics of the Babylonian music presented to the congress of the Arab Music of Baghdad (1987)

Saâda analyzes the Arab Musique in its historical and sociological context: this one undergoes, as from the 9th century, a considerable development founded on precursory work experts and prestigious theorists of which Al Mawsili, Ziriab, Al-Kindi, Al-Farabi and Ibn Sina. It is the traditional period of the Arab music which is followed as from the 11th century of a long phase of stagnation accompanying the retreat by Arab civilization following the decline of the Abbasid empire in the East and of Al-Andalus in Occident. The Arab musicians henceforth remain faithful to the rules and traditions established during the traditional time without bringing major innovative elements. The music is perceived before just like average entertainment, from where preponderance of the Chant, the singer and concept of the tarab . This phase of stagnation persists, according to Mohamed Saâda, mainly until the 20th century. The Arab musicians do not take into account the innovations which are born in Europe such as the Polyphonie, the musical Notation systematic or the widening of the field of expression of the musical language and will miss making use of it to enrich in an original way the Arab music.

Saâda sees in the introduction of a dynamics of innovation into the Arab music a contribution to a true Arab sociocultural rebirth. In addition to its will to innovate, he sees in the music before a whole language of dream and imagination which transcends the simple aspect of the entertainment. He bases his strategy of innovation on the following axes:

to enrich the Arab music by innovative elements, such as the polyphony and the Harmony, and to try out new forms of melodies, rates/rhythms and of orchestration while basing itself on the roots of the Arab music (conservation of the “heart of the Arab music”), in opposition to a blind orientation towards the Occident which would be, according to Saâda, a primitive and against-productive approach.
to push the horizon of the Arab musical language beyond the sphere of the entertainment and to create a language musical Arabic of dream and imagination.
rigor and excellence in the training of the musicians in the theoretical and practical fields (paramount importance of the control of the musical notation and orchestral interpretation), the objective being to train musicians able to compose and interpret demanding orchestral musical works.
to enrich the Arab music by the introduction by new musical genres, such as the musical theater, the opera, the choral society of children, etc

Distinctions

In 1989, it receives the medal of the cultural merit

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