This article attempts to present the different forms of the sung repertoire of of Awlâd sîdî ‘Abîd community, living in the extended region from the South East of Tunisia (Gafsa – Tozeur) to Tebessa in Algeria. The article also tries to define the musical characteristics of this repertoire through an analytical study of one of its most famous forms: the ṭarg ‘îfî.
The fourteen analysed instrumental pieces are taken from the Tunisian repertoire of traditional ṭubu’ – mainly improvisations of Muḥammad Ghānim on rabāb and °Khmayyis° Tarnān onʿūd °ʿarbī° – recorded at the 1932 Congrès du Caire. We show that the tools developed in the last few years allow for a thorough analysis of this repertoire and, mostly, that even the most “simple” performances by renowned musicians have much to tell about the music that they tried to represent at this occasion.
Author : Aicha Kalleli. The musical form is not a simple combination of different elements of a musical whole no a structural covering of the musical discourse. It is a multidimensional phenomenon that reflects the evolution of the different styles of composition of Arabic music.
Author : Bacim Mejri. In this article, we tried to highlight three genres of latin genres (tango, rumba and samba) influence on the modern egyptian music in the 20th century. We choose to analyze three works : “Ahwak“ and “Sahirtou minhou al-layali“ by Mohamed Abd al-Wahab and “Wayyak“ by Farid al-Atrach.