Hence, I usually try to go for uplifting songs, although sometimes you may need to take a chance and also if you perform at a hafla, the audience is usually quite knowledgeable about Middle Eastern music.

The artists are paid every time someone listens to one of their songs, which is a good thing for supporting the musicians who play the music we love (although there is some debate on whether the amount paid is enough, but I am not well informed about this).

Egyptian Old Songs Free Download

tag_hash_104 🔥 https://fancli.com/2yjWmh 🔥

Among ancient Egypt manuscripts, love songs survive from only one time and place: the Ramesside Period community of elite craftsmen working on the tomb of the king (Deir el-Medina, 13th-12th centuries BC). The contents of the songs have been taken to indicate an even more elite setting, the palace and court of the king: the centres of power of Ramesside Egypt were all in the north, at Per-Ramses, Memphis and the palace of the court women at Gurob. These may be the places where the songs were composed and sung originally. Although no manuscripts survive from the palace sites themselves, the songs seem to echo the figures of singing women on late Eighteenth Dynasty and Nineteenth Dynasty cosmetic equipment and vessels produced for the highest level of society.

There are three papyri with sets of long songs, and one fragmentary pottery jar covered in another set; in addition there are about twenty ostraca that bear compositions that have been identified as love songs (Mathieu 1996: 27, with list and reference to different opinions of modern commentators). The songs are written in the Late Egyptian phase of the Egyptian language, a formal version of the spoken language of New Kingdom Egypt. No Middle Egyptian equivalent survives, although parts of the Middle Egyptian composition now known as Kemyt seem to present a man justifying his absence to a griefstruck woman. There are no later manuscripts containing love songs, but other written sources indicate that the genre continued in use or was revived; the inscription on a stela of about 700 BC describes the owner, a woman named Mutirdis, in terms close to the Ramesside love songs (Mathieu 1996: 36 n.34, 87 n.276).

Perhaps the most elaborate series of songs is the cycle of seven stanze on the back of a papyrus roll now preserved in the Chester Beatty Library and Gallery, Dublin (Papyrus Chester Beatty I, verso, column 1 to column 5, line 2: other love songs follow the cycle). In alternate stanze, a young man and a young woman sing of their love in separation. As in many cultures, they call one another 'brother' and 'sister' (Mathieu 1996: 26):

To explore the effect of the songs on their hearers, listen to the readings of stanze 1 and 7 (male voice) and 2 and 6 (female voice); for the female voice, two different readers were recorded, as a reminder of the variable of different speakers. These recordings were arranged for this website by Kenneth John, Outreach Officer for the Petrie Museum: the voices are those of Merlyn Gaye, Natalie Wright and Kenneth John.

After attentively listening to several Shaabi songs by different artists, I was safely able to assume that this truly deep genre of music is just as unapologetic as it is an accurate reflection of not only challenges and dilemmas faced by the less fortunate of Egypt, but simultaneously a witty exposure of universal existential themes that many of us must have headbutted against at least one time in our lives while trying to know and identify ourselves. The artistic symbolism of the human condition, the illusive idea of fate and godhood, betrayal, self-alienation, and loss as well as repent, are only some of the themes reflected in an ironically festive and all-over-the-place style of music.

B.E.: That's interesting. We heard a couple of reports that those kinds of DJs were well received during the protests in Tahrir Square. When other people were being closed down, they were apparently allowed to keep playing.

M.G.: I never saw them in Tahrir. It's kind of funny, because they do sing all the songs that the Ultras sing. I don't know if you've been hearing about the Ultras.

B.E.: The soccer Ultras. A little. I understand that they were important to security in Cairo during the revolution. And I've seen a video they made defending themselves after the Port Said stampede recently. But I don't really have a very clear sense of how they fit into the political world.

M.G.: Yeah, I have my own reading of the Ultras. It is really baffling to a lot of people, and the kind of pushes for an explanation that's a little deeper, or a little less connected with everyday life. There are no good explanations of their relationship with politics, and how they came out of soccer, and how they relate to the revolution. It's funny, because these guys yesterday, they sang all the Ultras' songs, and at rallies people up. And I think that could be just because Ultras is a very populist movement, and it gets people rallied. But they don't do it in a political way, and they are very different from other rappers that were singing in Tahrir. I don't know if these DJs came out in Tahrir. They might have come out. There's a place called Cultural Resource, El Mawred Al Thaqafy [The Spring of Culture].

B.E.: And even now, they are still not addressing the revolution.

M.G.: It's not their world. The revolution is not their world. Their world is money. I mean, there are pop singers. You wouldn't expect Britney Spears to come out and talk about the Occupy movement. Why would you expect Amr Diab to come out and talk about the revolution in Egypt? It's a different world. And even Mohamed Mounir, who is usually perceived as a singer for the youth, and someone who is alternative within the pop world, is not interested in the revolution. He didn't make any songs about the revolution, during the revolution, and until now. He used one of his songs that he composed before the revolution ever started. He released it on YouTube and it became really popular, and he has used in his concerts ever since.

B.E.: What's happening right now is the elections, so I suppose if you make art about that, you are basically supporting a candidate.

M.G.: Yes, and at the same time, what's happening right now is very confusing to a lot of people. It's not very clear what are the forces. There is no story to tell right now. It's not the way it was during the revolution. The revolution was an epic. You see people that are dying for their freedom, and you see the people who are killing them. So you see the black and white. You see the struggle completely crystallizing. And that is inspiring to people whether they're Egyptians or not Egyptians. But you don't have that now. You have a lot of political forces that are using the revolution for their own cause, and it's the dark side of this beautiful story. And it's not even dramatic. So there are people who are actually writing songs now, and they are pretty good songs, but it's much less frequent than what you saw back in last year.

One of these songs is by one of the hip-hop singers that I might've mentioned to you Ashraf el Samman, who made a song about not using religious slogans in political campaigns, and how politics and religion are separate.

There was another song by Adeweyya, which is one of my favorite songs since the revolution began. It's about awareness and getting involved in politics, and voting for the right candidate that you believe will help your cause. That was a really good song as well.

B.E.: We heard about them when we were in Cairo, and had hoped to interview them. It was one of those things that just didn't happen. But tell me about what they're doing now. Are there songs about what happened during the revolution?

M.G.: No. It's a lot more engaged than that. You see, what's happening now is that more of the older political artists that had been singing about what's going on in Egypt for the past 10 or 15 years, before the revolution began, are the ones continuing now. And then there's the rise of new singers, and the new musicians who were just doing music related to the revolution that kind of came, and kind of went a little bit.

B.E.: Would you put Ramy Essam in that category?

M.G.: Well, he's a political activist, and he started singing during the revolution. I'm sure that he is still involved in many ways, but he's not the kind of person that was present before the revolution. The Choir Project had been going for a while. What they do, they have an interesting process. They come together for a workshop. For a day or so before the performance. And they collectively compose new songs, compose and write new songs, so 50 or 60 people are together for a day or two, and they write a new song together, and they perform at the concert. It's not a pop band. It's a very different kind of project. And their songs are really relevant, and even if they are not about the revolution per se, they are about the reality of living in Egypt today, a year and a half after the revolution. There's a lot to sing about, even though it's not the 18 days that everyone was interested in. And they are not trying to sing for a foreign audience. They are not trying to sing to be able to sell records, so they are not bound by the mechanics of the music industry, whether that is the world music industry for North America and Europe, or it is the Arab music industry for popular audiences. So they say what they feel like singing about, and it usually comes out authentic and interesting, with lyrics that really engage the audiences, because it relates to what everyone is living today.

B.E.: Because the country has been stuck for so long in this pattern of this big pop music like Amr Diab, which really doesn't export very well to the west. But I think it's possible that this coalition of ideas that you're referring to could produce something really exciting.

M.G.: Definitely. And I feel that it's also the result of the technology spreading all over Egypt here, and young people having access to computers to make sounds, and also computers to access what is happening elsewhere. So it is democratizing music production in a way that we haven't seen in awhile. If you wanted to make a new album, it had to be either supported by a producer, who are mostly bound by the old aesthetics that are completely irrelevant that have made the music industry in Egypt irrelevant to what's happening elsewhere. So you hear Amr Diab or you hear Sherine, and they are interesting songs, but they are a product of what Amr Diab sort of imagined maybe 20 or 30 years ago, and that we've been kind of stuck with. So the older players have been kind of holding on to the reins of music production, and the aesthetics were kind of stuck in that world, and if you wanted to do something new, you didn't have the tools, you didn't have the resources to be able to come up with something new. 0852c4b9a8

free download mp3 rocket for android

i love you quotes free download

adobe flash player 11 free download free download