Mohammed Abdel Wahab - Contribution To Arab Music

Contribution To Arab Music

Despite the fact that Abdel Wahab composed many songs and musical pieces of classical Arab music, he was always criticized for his orientation to Western music. In fact, he introduced Western rhythms to Arab songs in a way appropriate to the known forms of Arab songs. For example, in 1941, he introduced a waltz rhythm in his song "Al Gondol," and, in 1957, he introduced a rock and roll rhythm in Abdel Halim Hafez's song "Ya Albi Ya Khali".

Abdel Wahab played oud before the prominent Arab poet, Ahmed Shawqi, and acted in several movies. He composed ten songs for Umm Kulthum (أم كلثوم). He was the first Egyptian singer to move from silent-era acting to singing. He was interviewed in one of the most famous program named "ALNAHR ALKHALED" the immortal river. This show was a great success briefing his great biography from him personally.

Read more about this topic:  Mohammed Abdel Wahab

Famous quotes containing the words contribution to, contribution, arab and/or music:

    Advertising is a racket, like the movies and the brokerage business. You cannot be honest without admitting that its constructive contribution to humanity is exactly minus zero.
    F. Scott Fitzgerald (1896–1940)

    He left behind, as his essential contribution to literature, a large repertoire of jokes which survive because of their sheer neatness, and because of a certain intriguing uncertainty—which extends to Wilde himself—as to whether they really mean anything.
    George Orwell (1903–1950)

    As the Arab proverb says, “The dog barks and the caravan passes”. After having dropped this quotation, Mr. Norpois stopped to judge the effect it had on us. It was great; the proverb was known to us: it had been replaced that year among men of high worth by this other: “Whoever sows the wind reaps the storm”, which had needed some rest since it was not as indefatigable and hardy as, “Working for the King of Prussia”.
    Marcel Proust (1871–1922)

    The sound of tireless voices is the price we pay for the right to hear the music of our own opinions. But there is also, it seems to me, a moment at which democracy must prove its capacity to act. Every man has a right to be heard; but no man has the right to strangle democracy with a single set of vocal chords.
    Adlai Stevenson (1900–1965)