Sheikh Hamada (born 1889, Blad Touahria near Mostaganem; died April 9, 1968) was an Algerian singer. He was one of the founders of the gasba music.
During his lifetime, he revolutionized Bedouin musical traditions in North Africa and in modern music today.[ citation needed ] He utilized urban poetry in his Hadri, Haouz, and Aroub compositions. He made his first recording in 1920, and continued to record in Algeria, Paris, and Berlin, until his death.
He revised gasba music, which influenced the area of Dahra, and thus was a large influence on the chaâbi music repertoire, which is one of the most popular musical genres in North Africa today. It is still used in traditional celebrations, with music resulting from the Arabo-Andalusian culture.
This music type is modal and not tonal. Béla Bartók was extremely touched by the artist on a two-year trip to Algeria (1913–1915), which inspired several pieces.
Hamada was the father of two sons killed during the colonial war of The Algerian National Liberation Front from 1954 to 1962.
He was also a mentor to his friend Hadj El Anka, an Algerian artist. They met at outings with philosophical poets and musicians, where they worked together on qaçayds (poems). Hamada was also a teacher for the younger generation: he welcomed into his house several artists like Maâzouz Bouadjadj, teaching, sometimes for hours, a tone, a stanza, the hidden meaning of a word, a verse, a qasida.
Berbers, or the Berber peoples, also known as Amazigh or Imazighen, are a diverse grouping of distinct ethnic groups indigenous to North Africa who predate the arrival of Arabs in the Maghreb. Their main connections are identified by their usage of Berber languages, most of them mutually unintelligible, which are part of the Afroasiatic language family.
Given the vastness of the African continent, its music is diverse, with regions and nations having many distinct musical traditions. African music includes the genres makwaya, highlife, mbube, township music, jùjú, fuji, jaiva, afrobeat, afrofusion, mbalax, Congolese rumba, soukous, ndombolo, makossa, kizomba, taarab and others. African music also uses a large variety of instruments from all across the continent. The music and dance of the African diaspora, formed to varying degrees on African musical traditions, include American music like Dixieland jazz, blues, jazz, and many Caribbean genres, such as calypso and soca. Latin American music genres such as cumbia, salsa music, son cubano, rumba, conga, bomba, samba and zouk were founded on the music of enslaved Africans, and have in turn influenced African popular music.
Raï, sometimes written rai, is a form of Algerian folk music that dates back to the 1920s. Singers of Raï are called cheb (شاب) or cheba (شابة), i.e. young, as opposed to sheikh, i.e. old, the name given to Chaabi singers. The tradition arose in the city of Oran, primarily among the poor. Traditionally sung by men, by the end of the 20th century, female singers became common. The lyrics have concerned social issues such as disease and the policing of European colonies that affected native populations.
Hip hop music has been popular in Africa since the early 1980s due to widespread African American influence. In 1985, hip hop reached Senegal, a French-speaking country in West Africa. Some of the first Senegalese rappers were Munyaradzi Nhidza Lida, M.C. Solaar, and Positive Black Soul.
In France, music reflects a diverse array of styles. In the field of classical music, France has produced several prominent romantic composers, while folk and popular music have seen the rise of the chanson and cabaret style. The oldest playable musical recordings were made in France using the earlist known sound recording device in the world, the phonautograph, which was patented by Édouard-Léon Scott de Martinville in 1857. France is also the 5th largest market by value in the world, and its music industry has produced many internationally renowned artists, especially in the nouvelle chanson and electronic music.
The rich and varied music of Sudan has traditional, rural, northeastern African roots and also shows Arabic, Western or other African influences, especially on the popular urban music from the early 20th century onwards. Since the establishment of big cities like Khartoum as melting pots for people of diverse backgrounds, their cultural heritage and tastes have shaped numerous forms of modern popular music. In the globalized world of today, the creation and consumption of music through satellite TV or on the Internet is a driving force for cultural change in Sudan, popular with local audiences as well as with Sudanese living abroad.
Arabic music is the music of the Arab world with all its diverse music styles and genres. Arabic countries have many rich and varied styles of music and also many linguistic dialects, with each country and region having their own traditional music.
African-American music is a broad term covering a diverse range of musical genres largely developed by African Americans and their culture. Its origins are in musical forms that developed as a result of the enslavement of African Americans prior to the American Civil War. It has been said that "every genre that is born from America has black roots."
North Africa has contributed considerably to popular music, especially Egyptian classical music alongside el Gil, Algerian raï and Chaabi. The broad region is sometimes called Maghreb, and the term Maghrebian music is in use. For a variety of reasons Libya does not have as extensive nor popular a tradition as its neighbours. Folk music abounds, however, despite frequent condemnation and suppression from governments, existing in multiple forms across the region—the Berbers, Sephardic Jews, Tuaregs, Copts and Nubians, for example, retain musical traditions with their ancient roots.
Rachid Taha was an Algerian singer and activist based in France described as "sonically adventurous". His music was influenced by many different styles including rock, electronic, punk and raï.
Tunisia is a North African country with a predominantly Arabic-speaking population. The country is best known for malouf, a kind of music imported from Andalusia after the Moors expulsion in the 15th century. Though in its modern form, malouf is likely very dissimilar to any music played more than four centuries ago, it does have its roots in Spain and Portugal, and is closely related to genres with a similar history throughout North Africa, including malouf's Libyan cousin, Algerian gharnati and Moroccan ala or Andalusi. During the Ottoman era, malouf was influenced by Turkish music. However, Tunisian repertoires, styles and also instruments remain distinctive – the ʻūd tūnsī is an emblematic case. This is a close relative of the 'uds associated with Algeria and also Morocco.
Islamic music may refer to religious music, as performed in Islamic public services or private devotions, or more generally to musical traditions of the Muslim world. The heartland of Islam is the Middle East, North Africa, the Horn of Africa, Balkans, and West Africa, Iran, Central Asia, and South Asia. Due to Islam being a multi-ethnic religion, the musical expression of its adherents is vastly diverse. Indigenous traditions of various part have influenced the musical styles popular among Muslims today. The word "music" in Arabic, the language of Islam, is defined more narrowly than in English or some other languages, and "its concept" was at least originally "reserved for secular art music; separate names and concepts belonged to folk songs and to religious chants".
Berber music refers to the musical traditions of the Berbers, a diverse grouping of distinct ethnic groups indigenous to North Africa who predate the arrival of Arabs in the Arab migration to the Maghreb. Their main connections are identified by their usage of the mostly mutually unintelligible Berber languages. Berber music varies widely across North Africa. It is stylistically diverse, with songs being predominantly African rhythms and a stock of oral literature.
Andalusi classical music, also called Andalusi music or Arab-Andalusian music, is a genre of music originally developed in al-Andalus by the Muslim population of the region and the Moors. It then spread and influenced many different styles across the Maghreb after the Expulsion of the Moriscos. It originated in the music of al-Andalus between the 9th and 15th centuries. Some of its poems derive from famous authors such as al-Mu'tamid ibn Abbad, Ibn Khafaja, al-Shushtari, and Ibn al-Khatib.
Marrabenta is a popular style of Mozambican dance music combining traditional Mozambican dance rhythms with Portuguese folk music. It was developed in Maputo, the capital city of Mozambique, during the 1930s and 1940s.
Arabic hip-hop is a segment of hip hop music performed in the Arabic-speaking world. Due to variety of dialects and local genres which exist in the localities, Arabic hip-hop music may appear very diverse depending on the country of the song. Like most artists of the genre, the hip-hop artists from the Arabic-speaking world are highly influenced by American hip-hop.
Mohamed Abdel-Fatah Mohamed Abdulaziz Helal, better known as Hamada Helal, is an Egyptian singer, actor, and composer who was born in Faqous, Sharqia Governorate, Egypt. He now resides in Cairo. Hamada started his interest singing when he was 5 years old. He used to record his voice whilst singing on cassette tapes. Helal has presented several albums and has presented work in cinema and television.
The culture of Algeria encompasses literature, music, religion, cuisine, and other facets of life in Algeria.
Šupelka is a Macedonian traditional woodwind instrument very similar to the kaval. It is mostly made of walnut, cornel, ash, or maple wood. The šupelka plays a chromatic scale, with the exception of the first note of the lower octave. In the lower register, the šupelka gives a soft and pleasant sound, while the upper register tone is sharp and high-pitched.
The Maghreb rebab or Maghrebi rebab is a bowed lute now played mainly in Northern Africa. It fits within the wider rebab traditions of the Arab world, but also branched into European musical tradition in Spain, Sicily, and the Holy Roman Empire. In the late Middle Ages, the European rebec developed from this instrument. The Maghreb rebab was described by a musicologist as the "predominant" rebab of North Africa, although the instrument was in decline with younger generations when that was published in 1984.