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Megaby Saber, President of the Opera House and President of the Arab Music Festival, said the festival is one of the most important festivals in the Arab countries, we have been working on it for six months, and we have made great efforts. Stand it like this.
During this press conference, Vladik said the festival will be held on multiple stage stages, including the Egyptian Opera House, the El Gomoria Theater, the Alexandria Theater and the Theater of the Damnahur, and will be greeted by various sections from the above stars. Arab world, and it will be about 33 concerts.
A press conference has begun today in the presence of Dr. Magsi Saber, who heads the Arab Music Festival, which will be held from November 1 to 15, to announce the details of the 30th session of the Egyptian Opera House inside the theater. Opera and Festival, artist Johan Morsi, director of the festival and conference, and member of the preparatory committee, composer. Yahya Almoji, poet Hani Abdul Karim, composer Mohammad Rahim, journalist Mohammad Munir, and Dr. Rasha Tamim, chairman of the scientific committee.
And recently, at the Egyptian Opera House, Dr. Magdi Saber’s, Wani, announced the axis of research for scientific conferences, in its 30th session with the Arab Music Festival, which is arranged by artist Zhang Morsi, And will be held from 1 to 15 November. , Where the scientific committee of the conference, headed by Dr. Rasha Tumu, created four main topics: “The composer of the music in the Arab musical composition of the time.” The conference’s axes are:
First Axis: The specifications of the performance of Arabian musical instruments relate to the traditions of those performances, both past and present on traditional Arab music makers, in addition to the specifications of each instrument, in addition to the technical and cognitive formation effects of the Arab player and What characterizes their creative imagination. And the skill of the performance that helps him to be creative and provide a new interpretation:
1. Taqqasim is one of the most important performance traditions in the performance of Arabic music.
2. The ease of singing and to some extent the suggestion of singer or songwriter alone and the band’s partner is supportive of his performance and confirms the tradition of Arabic.
3. Creative interpretation of melodic text, ible or written, and to a certain extent a single performer can give his performance a special imprint each time he performs the Raw ton with his voice, location and performance with the instrument. According to the performance traditions. General Chat Chat Lounge
4. Solo performances of songs using the composer’s music, and the car that highlights the player’s ability to showcase the song’s textual performance characteristics and distinction.
5. Arab Musical Creativity – The Experience of Using Western Equipment, Its Money and Its Critical “Critical Theory”.
Axis Axis: The birth of Arabic music between the throne and the orchestra, and this axis belongs to the discussion:
1. Combine the contemporary creations and experiences of Arabic musicians in other music groups with their other instruments.
2. Writing Experiments for Arabic Musicians in Orchestral Formation.
3. Effect of computer applications on contemporary Arab compositions by Arab musicians.
Third Axis: Teaching and manufacturing Arabic musical instruments, and around Ari ol Rei:
1. Children Teach Learning Experiences to Earn Traditional and popular Arabic musical instruments.
2. Future perspectives for teaching Arabic instrumental music within the Arab world and in Arabic.
3. Experiences of making and developing Arab music makers according to an integrated system that gives them the possibility to play.
Fourth axis: The role of folk instruments in Arabian music creativity. These axes belong to the discussion:
1. The use of folk instruments in the contemporary creation of Arabic music.
2. Technical experience in performing the legacy of traditional Arabic music on folk instruments in the Arab world.
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