Classical music

History

The Algerian Classical music known as Andalusian is the heiress of the Arab Music, itself synthesis of old Eastern civilizations. If it is allowed indeed, that the musical scale was borrowed from the Greeks primarily, the modes still preserve their name Persian: Seh-gah (Sika), Tchahar-Gah (Djarka)... the rates/rhythms as for them kept their Arab origin: Ramal, darj...

The Andalouse music is present in Algeria, through three important schools: the "Ghernati" of Tlemcen which asserts "Grenade", the ça' naa " of Algiers which is asserted of " Cordone " and the" Malouf " of Constantine which is asserted of " Seville ".

The arabo-Andalusian classical music, of Arab expression (traditional), is present in Algeria, through three important schools : Ghernati de Tlemcen which assert Grenade, Ça' naa ofAlgiers which is asserted of Cordoue and Malouf de Constantine which is asserted of Seville. Each one of these schools practise this music with certain nuances. In the three schools this practice is represented by " the spree", which corresponds to an instrumental and vocal composition which proceeds according to an established order and rhythmic and modal rules' well defined. Each spree is built on a mode () precise from which it draws its name.

The various movements which make it up are as follows:

1. Daira : Vocal part of free rate/rhythm carried out in strict unison.

2. Mestekhber : Instrumental prelude of free rate/rhythm, carried out in unison.

3. Touchia : Instrumental part being used as opening, made up on a binary or quaternary rate/rhythm (2/4; 4/4).

4. Mçedder : The most important vocal and instrumental part of the Spree, exploited a rate/rhythm 4/4.

5. Btayhi : Second vocal and instrumental part, built on the same rate/rhythm as Mçedder (4/4 less slow).

6. Derdj : Vocal and instrumental movement built on a binary rate/rhythm, more accelerated than the two preceding parts.

7. Touchiat el inçirafate : Instrumental part announcing an accelerated part and lives, built on a ternary rate/rhythm.

8. Inçiraf : Vocal and instrumental movement at ternary rate/rhythm (5/8).

9. Khlass : Ultimate sung part of the Spree, it is carried out on a rate/rhythm alert and dancing (6/8).

10. Touchiat el Kamal : it is an instrumental part built on a binary or quaternary rate/rhythm.

On the 24 sprees which exist, one knows only 12 complete. It acts : Dhil Spree, Ghrib Spree, Hsine Spree, Maya Spree, Mezmoum Spree, Mdjenba Spree, Rasd Spree, Spree Rasd Eddil, Reml Spree, Spree Reml Maya, Sika Spree, Zidane Spree.

Large the maitres of this music is named :

Sfindja Mohamed (Algiers):

1844/1908, Master and pioneer of the Andalusian music, endowed with an exceptional voice and an extraordinary memory. The large schoolmasters of Algiers, assert themselves all of Sfindja whose merit will have been also, to have allowed the publication of the collection of the noubate of E.N.Yafil.

Serri Ahmed (Algiers):

Born in Algiers in 1926. Singer, professor and leader, he is currently the agent of the authentic Andalusian tradition.

Maalma Yamna (Algiers) :

1859/1933. By its talent and its personality Yamna Bent El Hadj El Mahdi known to be binding in a medium reserved exclusively to the men, taken again all the male inheritance-field and with the msamaî kind (female) the form printed that we know to him today.

Benachour Dahmane (Blida) :  

1912/1976, one of the interpreter the most endowed with his generation, as well in the style of the noubates as in that of the aroubi and haouzi.