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Academic literature on the topic 'Amazighe music'
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Journal articles on the topic "Amazighe music"
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MERAKEB, Dihia. "A propos de la terminologie de la musique d’imẓad". ALTRALANG Journal 6, № 2 (2024): 241–56. https://doi.org/10.52919/altralang.v6i2.483.
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ABSTRACT: This article first focuses on the terminology linked to the imẓad music, in the light of the ethnomusicology of the Berber domain. Its purpose is to make a description and a semantic study of a sample of terms. Our hypothesis focuses on the role of semantic extensions in the constitution of this musical terminology. To explain different changes, we adopted the method of lexical trope mechanisms, which dictate the ordering of the meaning. We ended up identifying two processes: metaphor end metonymy. The two processes refer to comparisons, formal and functional references linked to gestures and elements of the technological and artisanal space. By comparing the results obtained, it appeared of us that the metaphor and the metonymy play the role of internal resources of the Tamazight language, which a part of the terminology of the imẓad music is constructed. RÉSUMÉ : Le présent article porte dans un premier temps sur une description de la terminologie liée à la musique d’imẓad, à la lumière de l’ethnomusicologie du domaine berbère. Et dans un second temps sur l’étude sémantique d’un échantillon de termes. Notre hypothèse s’accentue sur le rôle des extensions sémantiques dans la constitution de cette terminologie de musique. Pour arriver à expliquer les différents changements sémantiques dans notre corpus, nous avons adopté la méthode des mécanismes de tropes lexicaux qui dictent l’ordonnancement des significations d’un terme depuis le sens antérieur de celui-ci. Nous avons fini par dégager deux procédés : la métaphore et la métonymie. Ces deux procédés renvoient à des comparaisons, et à des références liées aux gestes et aux éléments de l’espace technologique et artisanal touareg. En confrontant les résultats obtenus, une fréquence élevée de l’extension sémantique est apparue, jouant le rôle d’un procédé d’enrichissement interne à la langue amazighe, et dont une part de la terminologie musicale d’imẓad est construite.
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Bouziane, Ikbale. "Engaged Amazigh Poetry in Meteor Airlines' "Agdal": Reviving Tradition while Addressing Global Environmental Issues." Journal of Gender, Culture and Society 4, no. 2 (2024): 119–25. http://dx.doi.org/10.32996/jgcs.2024.4.2.10.
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This paper analyzes Meteor Airlines' 2024 album Agdal, which revitalizes traditional Amazigh poetry through the emerging genre of Amazigh Rock. The study aims to explore how Agdal integrates the cultural heritage of pre-Saharan Amazigh oasis communities into global environmental discussions, with an emphasis on preserving nomadic and pastoral traditions. Using a qualitative analysis of the album’s lyrics, music style, and its reception, this research examines how the album marks a shift in Morocco's cultural industry from commercialized music production to efforts centered on cultural preservation and archiving. Findings suggest that Agdal, by merging traditional Amazigh poetry with contemporary rock elements, engages transnational audiences and contributes to an ongoing global dialogue on ecological and cultural sustainability. The study concludes that contemporary Amazigh music plays a crucial role in preserving historical memory, fostering cultural resilience, and raising environmental awareness, illustrating the impact of local cultural production on wider global issues
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Blench, Roger. "Reconstructing the history of Berber [Amazigh] music." Études et Documents Berbères N° 52, no. 2 (2025): 7–32. https://doi.org/10.3917/edb.052.0007.
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Mark, Andrew. "Gnawa Confusion: The Fusion of Algeria’s Favorite French Band." Ethnologies 33, no. 2 (2013): 205–29. http://dx.doi.org/10.7202/1015031ar.
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Gnawa Diffusion was a successful musical group of first- and second-generation North African immigrants that achieved significant fame in North Africa, the Middle East and Europe during the last two decades. Based in France, though from Algeria, their politicized egalitarian message reached the world. Their musical skills, instrumentation, tastes and appeal to youth sounds, sentiments and meanings gave their globalized music a prominent place on the global stage. In their work Gnawa Diffusion addressed a panoply of political issues and sought to represent and reach their audience. Their greatest popularity came at the height and conclusion of the Algerian civil war. By parsing the meanings of the band’s name, this paper engages the events and cultures that informed Gnawa Diffusion, exploring the history of the Gnawa, the history of Algeria, and the relationships between France, North Africa and contemporary “French” music. Issues of cultural authenticity and representation are tightly layered within the band’s purposes and process of artistic production. Because Gnawa Diffusion was envisioned, organized and led by Amazigh Kateb Yassin, and because the band and media recognized him as the spokesperson and principal author for Gnawa Diffusion, Amazigh’s life story and words accompany this paper’s arguments and analysis. Through a selective sketch of the various musical consequences of the North African slave trade, the spread of Islam, the colonization of North Africa and the immigration of Algerians to France, we can begin to comprehend how these histories combined and harmonized through Gnawa Diffusion to form the new musical forms of a generation of people who seek to overcome their often divisive cultural heritage. In this case, the intent of the music challenges common notions of authenticity and thereby affirms it.
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Rossie, Jean-Pierre. "Vegetal Material in Moroccan Children's Toy and Play Culture." Vegetal Material in Moroccan Children's Toy and Play Culture 1, no. 75 (2022): 213–26. https://doi.org/10.5281/zenodo.10058673.
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Cette étude fait partie d' une analyse approfondie des jeux et jouets d' enfants nord-africains et sahariens publiée sur Academia.edu, Zenodo.org et Scribd sous le nom de l' auteur dans l' intention de promouvoir la reconnaissance des cultures enfantines dans ces pays et comme patrimoine de l' humanité. L' article analyse l' usage de matériel végétal pour des jeux de poupées, lié au monde animal ou à la vie domestique, des jeux en relation avec les fêtes et rituels, le son et la musique, les activités techniques, et les jeux d' adresse. Les informations sont basées sur des recherches sur le terrain entre 1992 et 2021 et proviennent d' enfants amazighs (berbères) et arabophones marocains. Ces enfants âgés de deux à quinze ans vivent souvent dans des environnements ruraux multiculturels et influencés par les médias.<i>This study is part of an extensive research on North African and Saharan children's play, games, and toys published on Academia.edu, Zenodo.org, and Scribd under the author's name and whereby he strives to promote the recognition of these children's cultures in their countries and as part of the heritage of humanity. This paper analyses the use of vegetal material for doll play, animal world play and domestic life play, play related to sound and music, feasts and rituals, technical activities, and games of skill. The information is based on fieldwork between 1992 and 2021 and comes from Moroccan Amazigh (Berber) and Arabic-speaking children. These children aged between two and fifteen years mostly live in multicultural and media-influenced rural environments.</i>
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Tayeb, Leila. "Our star: Amazigh music and the production of intimacy in 2011 Libya." Journal of North African Studies 23, no. 5 (2018): 834–50. http://dx.doi.org/10.1080/13629387.2018.1436651.
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Merolla, Daniela. "Cultural heritage, artistic innovation, and activism on Amazigh Berber websites." Journal of African Cultural Studies 32, no. 1 (2019): 42–59. http://dx.doi.org/10.1080/13696815.2019.1624153.
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Tachouche, Mohamed Badredine. "Exploring the Significance of Andalusian <i>muwashshaḥāt</i> and <i>azjāl</i> in the Study of Islamic Theology". Journal of Arabic and Islamic Studies 25, № 1 (2025): 133–57. https://doi.org/10.5617/jais.12441.
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Can the poetic and musical genres muwashshaḥāt and azjāl enrich Islamic theology, particularly through their compatibility with traditional naẓm (didactic poetry), while addressing the epistemological and ethical challenges confronting Islamic discourse today? This paper examines the significance of these Andalusian forms, focusing on Jādaka al-ghayth by Lisān al-Dīn Ibn al-Khaṭīb (1313–1374), and raises critical questions about the role of traditional theological texts, especially naẓm, in meeting the evolving needs of contemporary Islamic thought. The study underscores four key contributions that muwashshaḥāt and azjāl can bring to Islamic theology: their interdisciplinary nature, their reflection of multireligious contexts, their innovative linguistic features that blend Arabic with Romance, Hebrew, and Amazigh (Berber), and their rich aesthetic value, particularly through Andalusian music. By integrating these genres into Islamic studies, the research advocates for a more flexible and inclusive curriculum, challenging the dominant approach. It suggests that muwashshaḥāt and azjāl—in a way akin to naẓm—offer a transformative perspective on Islamic epistemology by providing a more poetic and accessible approach to theological concepts. This allows for a deeper engagement with God-talk (discussions on the divine) by framing theological ideas in ways that resonate emotionally and intellectually, thus encouraging a re-examination of how theology is taught, understood, and communicated in modern times. Key terms: muwashshaḥ • zajal • al-Andalus • naẓm • Ibn al-Khaṭīb • Islamic theology
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Mnouer, Mounia. "The Amazigh Musical Style of Rouicha: Transcending Linguistic and Cultural Boundaries." Review of Middle East Studies, December 21, 2023, 1–13. http://dx.doi.org/10.1017/rms.2023.12.
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Abstract Mohammed Rouicha is an Amazigh musical legend. Rouicha came to prominence in his teenage years in the mid-sixties in Morocco and continued to evolve and rise internationally until his death in 2012. An artist and a musician, he was ahead of his time in that he believed that people and communities should connect with one another through music, regardless of ethnicity or language. Rouicha appreciated art in all its shapes and forms and was fascinated by Amazigh, Arab, and Hindi Music. He sang in both Tamazight (the language of the Indigenous Amazigh) and Arabic, winning him accolades among listeners in both languages. In this article, I draw on Rouicha's biography and artistic repertoire in Tamazight to analyze his lyrical and musical style. Rouicha's songs revolved around three primary themes: love, struggle, and resistance, and he painted his lyrics with the beauty and imagery of Tamazgha (Amazigh lands), giving a voice to Moroccans’ embodied experiences. His songs represent an imagined Morocco: a place where Amazigh identity is an integral part of the national identity. I argue that Rouicha represented the hope that an imagined linguistic and cross-cultural interconnectedness would unite all of Morocco within their differences.
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Oudadene, Hassane. "Lyrical Opponency in Amazigh Music: The Racial and Gender Question in Tanddamt." Review of Middle East Studies, December 27, 2023, 1–16. http://dx.doi.org/10.1017/rms.2023.15.
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Abstract A very significant sub-version that derives from Tirruyssa (ⵜⵉⵔⴻⵢⵙⴰ) is called Tanddamt (ⵜⴰⵏⴹⴰⵎⵜ), which refers to musical jousting between two seemingly opponent Rways and/or Raysat. Each singer attempts to address convincing and satirical chants to the opponent singer. Tanddamt is rich of social topoi such as race and gender. This chapter aims to deconstruct the discursive contexts that gave rise to the derivative form of tanddamt, and provide an in-depth analysis of the assorted images of eloquence and satire in the discourse of this melodious genre of contest. A close reading of the conversational poetics of tanddamt shall provide us with profound insight into individual as well as social worries and memories as expressed in the art of Tirruyssa. While the black-versus-white tanddamt triggers an historical debate of racial discourse, blackness, negritude, and slavery, the male-versus-female tanddamt revisits an everlasting discourse of gender discontentment. These binaries are an inherent subject in Amazigh music and constitute a source of acoustic pleasure for the audience. I argue that Tanddamt, as a refined art of lyrical opponency provides a considerable space for ‘subaltern’ expression in the public sphere, which sets it as a propitious canonical genre, amply instrumental in the enrichment of world literature.
Books on the topic "Amazighe music"
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Aboulkacem, El Khatir. Expressions musicales amazighes en mutation. Editions Okad, 2020.
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Ḥamzāwī, ʻAbd al-Mālik. Kunūz al-Aṭlas al-Mutawassiṭ: Waʻṣīm Ḥammū Ūlyazīd: muʻāṣirūh wa-ḥāmilū al-mishʻal min baʻdih. ʻA. Ḥamzāwī, 2014.
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Everett, Samuel Sami, and Rebekah Vince, eds. Jewish-Muslim Interactions. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621334.001.0001.
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By exploring dynamic Jewish–Muslim interactions across North Africa and France through performance culture in the 20th and 21st centuries, this book offers an alternative chronology and lens to a growing trend in media and scholarship that views these interactions primarily through conflict. The book interrogates interaction that crosses the genres of theatre, music, film, art, and stand-up, emphasising creative influence and artistic cooperation between performers from the Maghrib, with a focus on Algeria, Tunisia, Morocco, and diaspora communities, notably in France. The plays, songs, films, images, and comedy sketches analysed are multilingual, mixing not only with the former colonial language French, but also the rich diversity of indigenous Amazigh and Arabic languages. The first section examines accents, affiliations, and exchange, with an emphasis on aesthetics, familiarity, changing social roles, and cultural entrepreneurship. The second section shifts to consider departure and lingering presence through spectres and taboos, in its exploration of absence, influence, and elision. The volume concludes with an autobiographical afterword, which reflects on memories and legacies of Jewish–Muslim interactions across the Mediterranean.
Book chapters on the topic "Amazighe music"
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Tayeb, Leila. "Our star: Amazigh music and the production of intimacy in 2011 Libya." In Women in the Modern History of Libya. Routledge, 2020. http://dx.doi.org/10.4324/9781003019244-6.
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