Magdie Saber, President of the Opera House and President of the Arab Music Festival, said: “This is a very important festival in the Arab world and we have been working there for six months and we put in a lot of effort. To make it stand out in front of everyone.
The festival will be held on more than one stage, including the Egyptian Opera House, Al-Gomuria Theater, Alexandria Theater and Damanhour, and will be welcomed by top stars from various regions, he told a news conference. In the Arab world, it will be about 33 concerts.
The press conference has begun in the small theater of the Egyptian Opera House to announce the details of the 30th session of the Arabic Music Festival from November 1 to 15. Jihan Morsi, Director of the Opera & Festival, Festival and Conference, and members of the Preparatory Committee are musicians Helmi Baker, Yaya al-Moji, Dr. Rada Ragab, Dr. Hassan Sharara, musician Dr. Imad Ashur Yaya al-Moji, musician, poet Hani Kareem Muhammad Rahim, Journalist Muhammad Munir and Dr. Rasha Tamum, Head of the Scientific Committee.
Recently, the Egyptian Opera House, led by Dr. Magdie Saber, announced the research axes for the scientific conference to coincide with the 30th session of the Arab Music Festival, which will be held from November 1 to 15 and will be managed by artist Jehan Morsi. , The Scientific Committee of the Conference, chaired by Dr. Rasha Tamum, prepared four themes under the theme “Musical Instruments of Contemporary Arabic Musical Creativity”. The conference axis is as follows:
First axis: peculiarities in the performance of Arabic musical instruments; In addition to the influence of the Arab player’s artistic and cognitive construction, it deals with the playing traditions of traditional Arabic musical instruments of the past and present, as well as the specifics of each instrument. And performance skills that help him to provide creative and innovative interpretation:
1. Takasim as a very important performance tradition in Arabic music.
2. Playing with the vocals and how well the soloist or band instructor suggests to the singer and supporting his performance and confirming the traditions of Arabic singing.
3. Creative interpretation of a melody or written melody to the extent that the soloist can give a unique imprint to his performance each time he composes a melody with the traditional melody, melody and performance additions of the instrument. .
4. It involves playing the song alone using the instrument and highlighting the player’s ability to distinguish between the specificity of the lyric vocabulary and the performance of the instrument.
5. Experience in using Western instruments of Arabic music creativity, its money and its “critical vision”.
Second Axis: Concerns over the creation of Arabic music between the Takt and the orchestra and the discussion of this axis:
1. Contemporary creativity of Arabic musical instruments in small groups and experiments with combining them with other instruments.
2. Writing experiments for Arabic musical instruments in orchestral composition.
3. The influence of computer applications on the contemporary Arabic creativity of Arabic musical instruments.
Third Axis: Teaching and Producing Arabic Musical Instruments and Rotating Around It:
1. Experience in teaching children to play traditional and popular Arabic musical instruments.
2. Future Vision for Teaching Arabic Musical Instruments in and Out of the Arab World.
3. Experience in making and developing Arabic musical instruments according to an integrated system that enhances the ability to play them.
Fourth Axis: The Role of Folk Musical Instruments in Arabic Music Creativity. This axis is of interest to discuss:
1. The use of folk instruments for the contemporary creativity of Arabic music.
2. Technical experience of performing traditional Arabic musical heritage on folk musical instruments of the Arab world.