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The dilemma of scholars in the house of Al-Maarri |  Abdul Latif Al-Zubaidi

From squad leader to extras | Abdul Latif Al-Zubaidi

How do you feel when you see the leader of the band in Arabic music, inserted into it, with a semi-circle? Without gloves, the pen sees this as one of the manifestations of administrative chaos in Arab music. Its absence may distract your mind from things that would not have caught your attention, or diverted the course of your thinking, had it not been for this phenomenon that becomes darker and worse in direct concert performances with the audience. Rarely do you come across a decent role like the late Abdel Halim Nouira in the “Arab Music” ensemble.
The scene is a comedy of the slapstick style, such as: If there are many cooks, the stew burns or remains raw, or comes salty or without salt, a farce in reliance and non-reliance. Imagine a military battalion led by several officers: turn right, turn left, turn forward. That’s exactly what happens in live shows. In Arab music, the tradition has been going on for decades, or more, with the singer or singer being the one who leads the band practically and executively. Even when studying music at the level of Abdel Halim Hafez, who used to sing and then turn to the band, playing the role of its leader. In many concerts, you see the leader of the band performing his movements, and the singer gives the signal to repeat the clip, the house, or the coupe. One of the most important functions of leading the band is setting the rhythm, which means comedy that the darbuka, the riqq and the tabla occupy the first leading position.
Comedy has many manifestations. At parties, the singer can do whatever he wants, he goes out with a mowali when “Sultan”, then the band leader does not know what he is doing, and he has lost his authority. In the money, the reins of the instruments also loosen, so the oud, the law, the violin, the flute, seeks to show movements, in which individual divisions are available, and the leader of the band freezes, until the singer returns to the course of the song, and the unemployed recovers his powers, and returns to his movements, for a while.
The audience is another leader. Democracy and what you know, freedom of expression, the applause that does not stop at times is the master of rhythm. The audience is in control, repeats what it wants, and stops moving to the next paragraph, demanding the repeat. The applause, the whistling, the tyranny of the sounds of percussion instruments, are all conclusive proofs of the singers’ “success” and that the concert “broke the world.”
What is necessary: ​​Disciplinary result: Umm Kulthum’s parties were not without chaos, but they were strict and stinging with irony. One of them threw his fez in the air, and she said to him: “Throw the second one.”
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