Cairo Egypt Music
Egypt has one of the world's largest collections of classical music in the Middle East and perhaps the best exhibition of spontaneous musical theatre.
It begins with questions and develops by forging two opposing voices that reflect the different paths of the city and of Nubian migrants. Major 3 helps to depict the conflict between the two sides of this conflict: those who hate and those who love. Egyptian identity and flight, to draw new light and new songs from folklore themes, to affirm a proud "Egyptian" identity.
This very strong introduction was supported by a concert in 2008, at which the first Death Metal band, Vader, was to perform in Egypt. The concert was cancelled after tickets sold out and the government put pressure on the government after people began protesting against Vader, a satanic band who was taken to an "Islamic country" with lyrics such as "Hallelujah." However, a concert at which worms were said to have played in support of Vader was cancelled due to a lack of sold-out tickets and pressure from the government, because people protested against the "satanic" band brought to the Islamic country by the lyrics of HalleLUiah.
Shaabi music has developed in Cairo's poorer neighborhoods, and Egypt's working class reacted to these easy songs with anger, anger, and even violence against the artists and their music.
As a result, people became more interested in different genres that could present different bands, which was of great interest to Egyptian tastes. In the 1980s, the Shaabi influenced the music of Al - Jeel al - Shaabi, one of Egypt's most popular bands, and their music picked up steam. The concert was organized and became an important part of Cairo's popular culture, as well as the popularity of Al-Shabaab in Egypt.
The Mahraganat remained in Cairo and the surrounding suburbs until 2011, when the fall of Hosni Mubarak brought more attention to their artists. They were central to the movement and dominated the middle class in which they were popular. Although it wasn't their first album, it became a hit and sold millions, and they dominated for a long time and were popular in middle-class communities.
The lyrical appeal of the Mahraganat lies in its honesty, and the songs deal with issues of race, gender, sexuality, race relations, religion and politics. Egyptian music, digitized by Stephen McArthur of Multicultural Media in collaboration with the University of California, Center for Music and Culture in Berkeley.
Hamza el-Dinis worked with Kronos, one of the most famous and influential musicians of the 20th century in Egypt. He was used in a variety of music genres, including jazz, rock, hip-hop, folk, classical, jazz, pop and rock "n" roll, as well as in many other music genres. In KronOS he is singer, songwriter, guitarist, producer, composer, pianist and producer.
The British collaboration shows that there is a desire to breathe new musical ideas into the genre, a step accelerated by young artists like Diesel. Sadat said that the change in the development of music should be about the way we sing, not about changing the core of genres.
O Omar Gharzawi is also known for his monologues defending the Saiyidis, who have traditionally been the butt of Egyptian humour. The connection between body and music sums up the dramatic rituals in song and dance. A makeshift stage becomes a place where guests can wave banknotes while dancing, singing, dancing and playing fools with bravura and humour, and the dancers, whirling and singing in alto voice, get caught in a whirlpool of singing rhythms. Egyptian folklore groups, a stick - crashing folklore groups that stay out of the spotlight and sing, dance and play.
The maqamat defines the tonal structure of Arabic music, with rhythm determined by awzan wazn (singing), which consists of a combination of accentuated and accentuated beats and calm. Early Arabic music was influenced by Byzantine, Indian and Persian forms, which in turn were strongly influenced by their own cultures. It consists mainly of sung hymns and uses guitar-like and stringed instruments (simsimaya).
Islamic mystics and Sufis helped to nurture them at a time when everyone around them was doing their best to oppress them, especially in Egypt.
Although it was not a huge success, it opened the door for other bands like Eftekasat to release their debut album "Mouling Sidi El Latini," which was a huge success and was relatively well-reported by the media, which mainly covered pop artists. Wust El Balad took a big step by being the third band of EFtek to release a debut album. The London Transglobal Underground dived into the Cairo music scene and developed a West-East synthesis. A music revolution began as the bands became more popular and famous year after year.