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Raï

Raï

Raï (Arabic: راي) is a form of folk music, originated in Oran, Algeria from Bedouin shepherds, mixed with Spanish, French, African-American and Arabic musical forms, which dates back to the 1930s and has been primarily evolved by women in the culture. The word "Raï" is Arabic for "opinion". Singers of raï are called cheb (young) as opposed to cheikh (old) the name given to Chaabi music singers; the tradition arose in cities like Oran and elsewhere in Tlemcen, primarily among the poor. The word raï means literally opinion but is colloquially used as an expletive along the lines of oh, yeah!. Traditionally sung by men, at the turn of the 20th century, female singers became common. Oran is a seaport in Western Algeria, known since the Spanish invasion centuries ago; Spanish troops kept women there to entertain the troops, and the city has kept a reputation for hedonism ever since. In the early 20th century, Oran was divided into Jewish, French, Spanish and Arab quarters. By independence in 1962, the Jewish quarter (known as the Derb), was home to popular musicians like Reinette L'Oranaise, Saoud L'Oranais and Larbi Bensari. Sidi el Houari was home to Spanish fishermen, many refugees from Spain who arrived after 1939. These two quarters were the centers for musical innovation, and the French inhabitants of the city went to the Jewish and Spanish areas for music. The Arabs of Oran were known for al-andalous, a classical style of music imported from Southern Spain after 1492. Hawzi was popular between the wars, and the biggest stars were female singers like Cheikha Tetma, Fadila D'zirya and Myriam Fekkai. Melhun poetry with accompaniment was also popular, sung by male singers in long, white jellabas and turbans (known as cheikhs) who played guellal drums and gaspa flutes. This genre was known as bedoui (from its origin among Bedouin chants) or gharbi. Lyrics came from the poetry of masters like Mestfa ben Brahim and Zenagui Bouhafs, and performers included Cheikh Hamada, Cheikh Mohammed Senoussi, Cheikh Madani, Cheikh Hachemi Bensmir and Cheikh Khaldi. Senoussi was the first to record, in 1906. French colonization of Algeria changed the organization of society, producing an urban poor of uneducated men and women. Popular bedoui singers mostly collaborated with the French colonizers, though some, like Cheikh Hamada were exceptions. The problems of survival in a life of poverty were the domain of street musicians who sang bar-songs called zendanis. Many of these songs included exclamations of raï! and variations on it, which implies an opinion is being expressed. In the 1920s, the women of Oran were held to strict code of conduct. Many of those that failed became social outcasts and singers and dancers. They sang medh songs in praïse of Muhammad and performed for female audiences at weddings, circumcision feasts and other ceremonies. These performers included Les Trois Filles de Baghdad, Soubira bent Menad and Kheira Essebsadija. Another group of female social outcasts were called cheikhas, who were known for their alluring dress, hedonistic lyrics, and a form of music that combined that of the cheikhs, meddhahates and zendani singers. These cheikhas sang for both men and women, and included Cheikha Remitti el Reliziana, perhaps the most famous cheikha. Other performers included Cheikha Grélo, Cheikha Djenia el Mostganmia, Cheikha Bachitta de Mascara and Cheikha a; Ouachma el Tmouchentia. The 1930s saw the rise of revolutionary organizations, many with a Marxist goal, which mostly despised these early roots raï singers. At the same time, the great voices of Arab classical music were gaining popularity across North Africa, especially Umm Kulthum. Raï, al-andalous and the Egyptian classical superstars' style was combined in the 30s to form wahrani, a style popularized by Blaoui Houari. Wahrani was very popular, as were American jazz and French cabaret singers like Edith Piaf, especially into the 1940s. Musicians like Mohammed Belarbi and Djelloul Bendaoud added these influences to other Oranian styles, as well as Western piano and accordion, resulting in a new style called bedoui citadinisé. Full-scale revolution began in the mid-1950s, and many of these stars, including Houari and Ahmed Saber, supported the Front de Libération National. After independence in 1962, however, the new Marxist government of the Boumédiènne regime, and President Ahmed Ben Bella, did not tolerate criticism from Saber and other musicians, and many were arrested. Raï and Oranian culture was suppressed. In the 1960s, American rock and roll and soul music was popular, and Algerian bands like The Vulures and The Students arose. The French Yé Yé craze was also popular, and two of the most influential musicians of the later 20th century began their career. Bellamou Messaoud and Belkacem Bouteldja modernized the raï sound and began gaining mainstream acceptance by 1964. Chaba Fadela and Cheb Khaled also began their careers during this period, as raï's popularity was growing across Algeria. Recording technology began growing more advanced, and more imported genres gained popularity as well, into the 1970s, especially Jamaican reggae performers like Bob Marley. Fadela's 1979 "Ana ma h'lali ennoum" is considered the beginning of modern pop raï; the song was a hit across Algeria, and set the stage for raï's domination of national listeners. International success had begun as early as 1976 with the success of Ahmad Baba Rachid. In the 1980s, raï began its period of greatest popularity. In 1986, the first state-sanctioned raï festival was held in Algeria, and a festival was also held in Bobigny, France. Cheb Khaled was the first international superstar, though his popularity did not extend to the United States, Latin America and certain other areas. His 1988 Kutché album did the most to popularize him and the whole genre of raï. Other prominent performers of the 80s included Houari Benchenet, Raïna Raï, Mohamed Sahraoui, Cheb Mami and Cheb Hamid. International success grew in the 1990s, when Cheb Khaled's 1992 Khaled was a major French hit and also saw success in India and elsewhere. With Khaled no longer in Algeria, new stars began singing lover's raï, a sentimental, pop-ballad form best-known for stars like Cheb Tahar, Cheb Nasro and, especially, Cheb Hasni. Later in the decade, funk, hip hop and other influences were added to raï, especially by performers like the French star Faudel and raï-rock fusionist Rachid Taha.

Famous raï artists:

- Bellamou Messaoud
- Chaba Fadela
- Faudel
- Cheb Hasni
- Cheb Kader
- Khaled
- Cheb Mami
- Rachid Taha
- Cheikha Rimitti
- Chaba Zahouania

Arabic language

The Arabic language (; , less formally, ) is the largest member of the Semitic branch of the Afro-Asiatic language family (classification: South Central Semitic) and is closely related to Hebrew and Aramaic. It is spoken throughout the Arab world and is widely studied and known throughout the Islamic world. Arabic has been a literary language since at least the 6th century and is the liturgical language of Islam.

Literary and Modern Standard Arabic

The term "Arabic" may refer either to literary Arabic, which no Arab speaks as a mother tongue, or Modern Standard Arabic or to the many spoken varieties of Arabic commonly called "colloquial Arabic." Arabs consider literary Arabic as the standard language and tend to view everything else as mere dialects. Literary Arabic, (Literally: "the most eloquent Arabic language" — ) refers both to the language of present-day media across North Africa and the Middle East and to the more archaic language of the Qur'an. (The expression media here includes most television and radio, and all written matter, including all books, newspapers, magazines, documents of every kind, and reading primers for small children.) "Colloquial" or "dialectal" Arabic refers to the many national or regional dialects/languages derived from Classical Arabic, spoken daily across North Africa and the Middle East, which constitute the everyday spoken language. These sometimes differ enough to be mutually incomprehensible. These dialects are not typically written, although a certain amount of literature (particularly plays and poetry) exists in many of them. They are often used to varying degrees in informal spoken media, such as soap operas and talk shows. Literary Arabic or classical Arabic, is the official language of all Arab countries and is the only form of Arabic taught in schools at all stages. The sociolinguistic situation of Arabic in modern times provides a prime example of the linguistic phenomenon of Diglossia -the normal use of two separate varieties of the same language, usually in different social situations. In the case of Arabic, educated Arabs of whatever nationality can be assumed to speak both their local dialect and their school-taught literary Arabic (to an equal or lesser degree). This diglossic situation facilitates code switching in which a speaker switches back and forth unaware between the two varieties of the language, sometimes even within the same sentence. In instances in which Arabs of different nationalities engage in conversation only to find their dialects mutually unintelligible (e.g. a Moroccan speaking with a Lebanese), both should be able to code switch into Literary Arabic for the sake of communication. Since the written Arabic of today differs from the written Arabic of the Qur'anic era, it has become customary in western scholarship and among non-Arab scholars of Arabic to refer to the language of the Qur'an as Classical Arabic and the modern language of the media and of formal speeches as Modern Standard Arabic. Arabs, on the other hand, often use the term to refer to both forms, thus placing greater emphasis on the similarities between the two. The difference between Arabic of the Qur'anic era and today's Classical Arabic is only in the degree of eloquance. The vocabulary, the syntatic and grammatical rules are the same. Quite a few English words are ultimately derived from Arabic, often through other European languages, especially Spanish, among them every-day vocabulary like sugar (sukkar), cotton (qutn) or magazine (). More recognizable are words like algorithm, algebra, alchemy, alcohol, azimuth, nadir, and zenith (see List of English words of Arabic origin). The Maltese language spoken on the Mediterranean island of Malta is the only surviving European language to derive primarily from Arabic (a North African dialect), though it contains a large number of Italian and English borrowings.

Arabic and Islam

It is sometimes difficult to translate Islamic concepts, and concepts specific to Arab culture, without using the original Arabic terminology. The Qur'an is expressed in Arabic and traditionally Muslims deem it impossible to translate in a way that would adequately reflect its exact meaning—indeed, until recently, some schools of thought maintained that it should not be translated at all. A list of Islamic terms in Arabic covers those terms which are too specific to translate in one phrase. While Arabic is strongly associated with Islam (and is the language of salah), it is also spoken by Arab Christians, Oriental (Sephardic) Jews, and smaller sects such as Iraqi Mandaeans. Even so, a majority of the world's Muslims do not actually speak Arabic, but only know some fixed phrases of Arabic, such as those used in Islamic prayer. However, to counteract this, there is great encouragement for non-Arabic-speaking Muslims to learn the language.

Dialects

See Varieties of Arabic for a fuller overview. "Colloquial Arabic" is a collective term for the spoken languages or dialects of people throughout the Arab world, which, as mentioned, differ radically from the literary language. The main dialectal division is between the Maghreb dialects and those of the Middle East, followed by that between sedentary dialects and the much more conservative Bedouin dialects. Maltese, though descended from Arabic, is considered a separate language. Speakers of some of these dialects are unable to converse with speakers of another dialect of Arabic; in particular, while Middle Easterners can generally understand one another, they often have trouble understanding Maghrebis (although the converse is not true, due to the popularity of Middle Eastern—especially Egyptian—films and other media). One factor in the differentiation of the dialects is influence from the languages previously spoken in the areas, which have typically provided a significant number of new words, and have sometimes also influenced pronunciation or word order; however, a much more significant factor for most dialects is, as among Romance languages, retention (or change of meaning) of different classical forms. Thus Iraqi aku, Levantine fiih, and North African kayen all mean "there is", and all come from Arabic (yakuun, fiihi, kaa'in respectively), but now sound very different. The major groups are:
- Egyptian Arabic (Egypt) Considered the most widely understood and used "second dialect"
- Maghreb Arabic (Algerian Arabic, Moroccan Arabic, Tunisian Arabic and western Libyan)
- Levantine Arabic (Western Syrian, Lebanese, Palestinian, and western Jordanian, Cypriot Maronite Arabic)
- Iraqi Arabic or Gulf Arabic (Iraqi, Eastern Syrian, Kuwaiti, Saudi Arabian, Persian Gulf coast from Iraq to Oman including much of Saudi Arabia's Eastern Province, and minorities on the other side) Other varieties include:
- (in Mauritania and Western Sahara)
- Andalusi Arabic (extinct, but important role in literary history)
- Maltese
- Sudanese Arabic (with a dialect continuum into Chad)
- Hijazi Arabic (West Cost of Saudi Arabia, Northern Saudi Arabia, eastern Jordan, Western Iraq)
- Najdi Arabic (Najd region of central Saudi Arabia)
- Yemeni Arabic (Yemen to southern Saudi Arabia)

Phonology

The consonant phonemes below reflect the pronunciation of Standard Arabic, which has only three vowels, in short and long variants, namely and . Naturally, considerable allophony occurs.

Consonants

Standard Arabic has 28 consonants: See Arabic alphabet for explanations on the IPA phonetic symbols found in this chart. # is pronounced as by some speakers. This is especially characteristic of the Egyptian and southern Yemeni dialects. In many parts of North Africa and in the Levant, it is pronounced as . # is pronounced only in , the name of God, i.e. Allah. # is usually a phonetic approximant. # In many varieties (if not most), are actually epiglottal (despite what is reported in many earlier works).

Emphatic Consonants

The consonants traditionally known as "emphatic" are either velarised or pharyngealised . In some transcription systems, emphasis is shown by capitalizing the letter e.g. is written ‹D›; in others the letter is underlined or has a dot below it e.g. ‹ḍ›.

Long Consonants

Vowels and consonants can be (phonologically) short or long. Long (geminate) consonants are normally written doubled in Latin transcription (i.e. bb, dd, etc.), reflecting the presence of the Arabic diacritic mark shaddah, which marks lengthened consonants. Such consonants are held twice as long as short consonants. This consonant lengthening is phonemically contrastive: e.g. qabala "he received" and qabbala "he kissed".

Syllable Shape

Arabic has two kinds of syllable: open syllables (CV) and (CVV) - and closed syllables (CVC), (CVVC) and (CVCC). Every syllable begins with a consonant - or else a consonant is borrowed from a previous word through elision – especially in the case of the definite article THE, al (used when starting an utterance) or _l (when following a word), e.g. baytu –l mudiir “house (of) the director”, which becomes bay-tul-mu-diir when divided syllabically. By itself, definite mudiir would be pronounced .

Word Stress

Although word stress is not phonemically contrastive in Standard Arabic, it does bear a strong relationship to vowel length and syllable shape, and correct word stress aids intelligibility. In general, "heavy" syllables attract stress (i.e. syllables of longer duration - a closed syllable or a syllable with a long vowel). In a word with a syllable with one long vowel, the long vowel attracts the stress (e.g. ki-'taab and ‘kaa-tib). In a word with two long vowels, the second long vowel attracts stress (e.g.ma-kaa-'tiib). In a word with a "heavy" syllable where two consonants occur together or the same consonant is doubled, the (last) heavy syllable attracts stress (e.g. ya-ma-’niyy, ka-'tabt, ka-‘tab-na, ma-‘jal-lah, ‘mad-ra-sah, yur-‘sil-na). This last rule trumps the first two: ja-zaa-i-‘riyy. Otherwise, word stress typically falls on the first syllable: ‘ya-man, ‘ka-ta-bat, etc. The Cairo (Egyptian Arabic) dialect, however, has some idiosyncrasies in that a heavy syllable may not carry stress more than two syllables from the end of a word, so that mad-‘ra-sah carries the stress on the second-to-last syllable, as does qaa-‘hi-rah.

Dialectical Phonologies

In some dialects, there may be more or fewer phonemes than those listed in the chart above. For example, non-Arabic is used in the Maghreb dialects as well in the written language mostly for foreign names. Semitic became extremely early on in Arabic before it was written down; a few modern Arabic dialects, such as Iraqi (influenced by Persian) distinguish between and . Interdental fricatives ( and ) are rendered as stops and in some dialects (principally Levantine and Egyptian) and as and in "learned" words from the Standard language. Early in the expansion of Arabic, the separate emphatic phonemes and coallesced into a single phoneme, becoming one or the other. Predictably, dialects without interdental fricatives use exclusively, while those with such fricatives use . Again, in "learned" words from the Standard language, is rendered as in dialects without interdental fricatives. Another key distinguishing mark of Arabic dialects is how they render Standard (a voiceless uvular stop): it retains its original pronunciation in widely scattered regions such as Yemen and Morocco (and among the Druze), while it is rendered in Gulf Arabic, Iraqi Arabic, Upper Egypt and less urban parts of the Levant (e.g. Jordan) and as a glottal stop in many prestige dialects, such as those spoken in Cairo, Beirut and Damascus. Thus, Arabs instantly give away their geographical (and class) origin by their pronunciation of a word such as qamar "moon": , or .

Grammar

See Arabic grammar

Alphabet

Arabic alphabet

Main article: Arabic alphabet The Arabic alphabet derives from the Aramaic script (which variety - Nabataean or Syriac - is a matter of scholarly dispute), to which it bears a loose resemblance like that of Coptic or Cyrillic script to Greek script. Traditionally, there were several differences between the Western (Maghrebi) and Eastern version of the alphabet—in particular, the fa and qaf had a dot underneath and a single dot above respectively in the Maghreb, and the order of the letters was slightly different (at least when they were used as numerals). However, the old Maghrebi variant has been abandoned except for calligraphic purposes in the Maghreb itself, and remains in use mainly in the Quranic schools (zaouias) of West Africa. Arabic, like other Semitic languages, is written from right to left.

Calligraphy

See Arabic calligraphy for a fuller overview. After the definitive fixing of the Arabic script around 786, by Khalil ibn Ahmad al Farahidi, many styles were developed, both for the writing down of the Qur'an and other books, and for inscriptions on monuments as decoration. Kufic font Arabic calligraphy has not fallen out of use as in the Western world, and is still considered by Arabs as a major art form; calligraphers are held in great esteem. Being cursive by nature, unlike the Latin alphabet, Arabic script is used to write down a verse of the Qur'an, a Hadith, or simply a proverb, in a spectacular composition. The composition is often abstract, but sometimes the writing is shaped into an actual form such as that of an animal. Two of the current masters of the genre are Hassan Massoudy and [http://arabworld.nitle.org/gallery.php?module_id=7 Khaled Al Saa’i].

Arabic using the Latin alphabet

See Arabic transliteration and Arabic Chat Alphabet for more information. There are a number of different standards of Arabic transliteration: methods of accurately and efficently representing Arabic with the Latin alphabet. The more scientific standards allow the reader to recreate the exact word using the Arabic alphabet. However, these systems are heavily reliant on diacritical marks, which may be difficult to pronounce at first sight. Other, less scientific, systems often use digraphs (like sh and kh), which are usually more simple to read, but sacrifice the definiteness of the scientific systems. During the last few decades and especially since the 1990s, Western-invented text communication technologies have become prevalent in the Arab world, such as personal computers, the World Wide Web, email, Bulletin board systems, IRC, instant messaging and mobile phone text messaging. Most of these technologies originally had the ability to communicate using the Latin alphabet only, and some of them still do not have the Arabic alphabet as an optional feature. As a result, Arabic speaking users communicated in these technologies by transliterating the Arabic text using the Latin script. To handle those Arabic letters that do not have an approximate equivalent in the Latin script, numerals and other characters were appropriated. E.g., the Latin numeral "3" is used to represent the Arabic letter "ع" ("ayn"). There is no universal name for this type of transliteration, but some have named it Arabic Chat Alphabet.

External links

- [http://arabic-media.com/ Arabic-Media] on-line access to Arabic newspapers, radio, and television
- [http://st-takla.org/Learn_Languages/01_Learn_Arabic-ta3leem-3araby/Learn-Arabic_00-index_El-Fehres.html Learn Arabic language online with audio pronunciation] from [http://St-Takla.org St. Takla Egyptian Church]
- [http://www.nicoweb.com/sirpus/learn%20arabic%20course%20mp3.htm Arabic Writing and Reading with MP3]. Arabic Writing and Reading Course Online with MP3 audio.
- [http://pince31.free.fr/lang/arabic/liens.htm Links to learn Arabic language with online course]
- [http://www.madinaharabic.com Arabic language learning course with audio]
- [http://www.dailystar.com.lb/article.asp?edition_id=10&categ_id=4&article_id=6173 "Antonyms in Arabic are a strange phenomenon" by Tamim al-Barghouti]
- [http://arabworld.nitle.org/texts.php?module_id=1&reading_id=17 "The Development of Classical Arabic" by Kees Versteegh]
- [http://arabworld.nitle.org/audiovisual.php?module_id=1&selected_feed=118 Wellesley College Professor of Arabic on the forms and dialects of the language]
- [http://www.uga.edu/islam/arabic_windows.html Multilingual Computing in Arabic with Windows, major word processors, web browsers, Arabic keyboards, and Arabic transliteration fonts]
- [http://www.gomideast.com/arabic/index.htm gomideast - Learning to Speak Arabic phrases]
- [http://language-directory.50webs.com/languages/arabic.htm List of online Arabic-related resources] Web references and examples:
- [http://transliteration.org/quran/Pronunciation/Letters/TashP.htm Arabic language pronunciation applet] with audio samples
- [http://www.sunna.info/teaching/ Learn Arabic]
- [http://www.everything2.com/index.pl?node_id=1289272 E2 article]
- [http://www.sprachprofi.de.vu/english/ar.htm Sprachprofi]
- [http://www.websters-online-dictionary.org/definition/Arabic-english/ Arabic - English Dictionary]: from [http://www.websters-online-dictionary.org Webster's Online Dictionary] - the Rosetta Edition.
- [http://www.ethnologue.com/show_language.asp?code=arb SIL's Ethnologue]
- [http://www.nitle.org/arabworld/texts.php?module_id=1&reading_id=113 Dialects of Arabic]
- [http://www.muftah-alhuruf.com Muftah-Alhuruf.com]: Write and send Arabic emails without having an Arabic keyboard or operating system. Arabic languages samples:
- [http://www.language-museum.com/a/arabic.php Arabic]
- [http://www.language-museum.com/a/arabic-chadian-spoken.php Arabic Chadian Spoken]
- [http://www.language-museum.com/a/arabic-judeo-iraqi.php Arabic Judeo Iraqi]
- [http://www.language-museum.com/a/arabic-north-levantine-spoken.php Arabic North Levantine Spoken]
- [http://arabworld.nitle.org/texts.php?module_id=1&reading_id=17 "The Development of Classical Arabic" by Kees Versteegh]
- Category:Arab ko:아랍어 ms:Bahasa Arab ja:アラビア語 simple:Arabic language th:ภาษาอาหรับ

Folk music

Folk music, in the original sense of the term, is music by and of the people. Folk music arose, and best survives, in societies not yet affected by mass communication and the commercialization of culture. It normally was shared and performed by the entire community (not by a special class of expert performers), and was transmitted by word of mouth. During the 20th and 21st century, the term folk music took on a second meaning: it describes a particular kind of popular music which is culturally descended from or otherwise influenced by traditional folk music. Like other popular music, this kind of folk music is most often performed by experts and is transmitted in organized performances and commercially distributed recordings. However, popular music has filled some of the roles and purposes of the folk music it has replaced. Folk music is more or less synonymous with traditional music. Some would use either term with a more specific meaning, restricted to just popularized-folk/traditional music or just not-popularized; however, both terms are used interchangeably among the general population and are not strictly defined. See also: World music.

Defining folk music

World music "Folk music is usually seen as the authentic expression of a way of life now, past or about to disappear (or in some cases, to be preserved or somehow revived). Unfortunately, despite the assembly of an enormous body of work over some two centuries, there is still no unanimity on what folk music (or folklore, or the folk) is." (Middleton 1990, p.127) Gene Shay, co-founder and host of the Philadelphia Folk Festival, defined folk music in an April 2003 interview by saying: "In the strictest sense, it's music that is rarely written for profit. It's music that has endured and been passed down by oral tradition. [...] And folk music is participatory—you don't have to be a great musician to be a folk singer. [...] And finally, it brings a sense of community. It's the people's music." The English term folk, which gained usage in the 18th century (during the Romantic period) to refer to peasants or non-literate peoples, is related to the German word Volk (meaning people or nation). The term is used to emphasize that folk music emerges spontaneously from communities of ordinary people. "As the complexity of social stratification and interaction became clearer and increased, various conditioning criteria, such as 'continuity', 'tradition', 'oral transmission', 'anonymity' and uncommercial origins, became more important than simple social categories themselves." Charles Seeger (1980) describes three contemporary defining criteria of folk music (Middleton 1990, p.127-8): # A "schema comprising four musical types: 'primitive' or 'tribal'; 'elite' or 'art'; 'folk'; and 'popular'. Usually...folk music is associated with a lower class in societies which are culturally and socially stratified, that is, which have developed an elite, and possibly also a popular, musical culture." Cecil Sharp (1972), A.L. Lloyd (). # "Cultural processes rather than abstract musical types...continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of which is found not only in the lower layers of feudal, capitalist and some oriental societies but also in 'primitive' societies and in parts of 'popular cultures'." Redfield (1947) and Dundes (1965). # Less prominent, "a rejection of rigid boundaries, preferring a conception, simply of varying practice within one field, that of 'music'." David Harker (1985) argues that "folk music" is, in Peter van der Merwe's words, "a meaningless term invented by 'bourgeois' commentators". Jazz musician Louis Armstrong and blues musician Big Bill Broonzy have both been attributed the remark "All music is folk music. I ain't never heard a horse sing a song."

Subjects of folk music

Apart from instrumental music that forms a part of folk music, especially dance music traditions, much folk music is vocal music, since the instrument that makes such music is usually handy. As such, most folk music has lyrics, and is about something. Narrative verse looms large in the folk music of many cultures. This encompasses such forms as traditional epic poetry, much of which was meant originally for oral performance, sometimes accompanied by instruments. Many epic poems of various cultures were pieced together from shorter pieces of traditional narrative verse, which explains their episodic structure and often their in medias res plot developments. Other forms of traditional narrative verse relate the outcomes of battles and other tragedies or natural disasters. Sometimes, as in the triumphant Song of Deborah found in the Biblical Book of Judges, these songs celebrate victory. Laments for lost battles and wars, and the lives lost in them, are equally prominent in many folk traditions; these laments keep alive the cause for which the battle was fought. The narratives of folk songs often also remember folk heroes such as John Henry to Robin Hood. Some folk song narratives recall supernatural events or mysterious deaths. Hymns and other forms of religious music are often of traditional and unknown origin. Western musical notation was originally created to preserve the lines of Gregorian chant, which before its invention was taught as an oral tradition in monastic communities. Folk songs such as Green grow the rushes, O present religious lore in a mnemonic form. In the Western world, Christmas carols and other traditional songs preserve religious lore in song form. Other sorts of folk songs are less exalted. Work songs are composed; they frequently feature call and response structures, and are designed to enable the labourers who sing them to coordinate their efforts in accordance with the rhythms of the songs. In the armed forces, a lively tradition of jody calls are sung while soldiers are on the march. Professional sailors made use of a large body of sea shanties. Love poetry, often of a tragic or regretful nature, prominently figures in many folk traditions. Nursery rhymes and nonsense verse also are frequent subjects of folk songs.

Variation in folk music

Music transmitted by word of mouth though a community will, in time, develop many variants, because this kind of transmission cannot produce word-for-word and note-for-note accuracy. Indeed, many traditional folk singers are quite creative and deliberately modify the material they learn. Because variants proliferate naturally, it is naïve to believe that there is such a thing as the "authentic" version of a ballad such as "Barbara Allen." Field researchers in folk song (see below) have encountered countless versions of this ballad throughout the English-speaking world, and these versions often differ greatly from each other. None can reliably claim to be the original, and it is quite possible that whatever the "original" was, it ceased to be sung centuries ago. Any version can lay an equal claim to authenticity, so long as it is truly from a traditional folksinging community and not the work of an outside editor. Cecil Sharp had an influential idea about the process of folk variation: he felt that the competing variants of a folk song would undergo a process akin to biological natural selection: only those new variants that were the most appealing to ordinary singers would be picked up by others and transmitted onward in time. Thus, over time we would expect each folksong to become esthetically ever more appealing — it would be collectively composed to perfection, as it were, by the community. On the other hand, there is also evidence to support the view that transmission of folk songs can be rather sloppy. Occasionally, collected folk song versions include material or verses incorporated from different songs that makes little sense in its context. A perfect process of natural selection would not have permitted these incoherent versions to survive.

The decline of folk traditions in modern societies

Folk music seems to reflect a universal impulse of humanity. No fieldwork expedition by cultural anthropologists has yet discovered a preindustrial people that did not have its own folk music. It seems safe to infer that folk music was a property of all people starting from the dawn of the species. However, the development of modern society--first literacy, then the conversion of culture into a salable commodity--created a new form of transmission of music that first influenced, then in some societies essentially eliminated the original folk tradition. The decline of folk music in a culture can be followed through three stages.

Stage I: Urban influence

One of the first folk traditions impacted by modern society was the folksong of rural England. Starting in Elizabethan times, urban poets wrote broadsheet ballads that (thanks to printing) could be sold widely. The ballads probably didn't need musical notation, since they would have been sung to tunes that everybody knew, the folk tradition being very much alive at the time. These ballads heavily influenced the folk tradition, but did not override it. In fact, the folk tradition showed great resilience. Through the process of folk transmission, the urban ballads were modified, keeping the more vivid content and ironing out the less "citified" material. The resulting body of folk lyrics is widely considered to be a very appealing blend. Thus, the printing press and widespread literacy did not suffice to destroy the English folk tradition, but in some ways enriched it. The English folk song legacy was probably affected by urban melodies as well as words. The clue here is that folk music in remote rural areas of the English-speaking world, such as Highland Scotland or the Appalachian mountains, abounds in tunes that employ the pentatonic scale, a scale widely used for folk music around the world. However, pentatonic music was rare among the rural English villagers who first volunteered their tunes to researchers in the late 19th century. A plausible explanation is that life in rural England was far more closely affected by the proximity to the urban centers. Music in the standard major and minor scales evidently penetrated to the nearby rural areas, where it was converted to folk idiom, but nevertheless succeeded in displacing the old pentatonic music.

Stage II: Replacement of folk music by popular music

The pattern of urban influence on folk music was intensified to outright destruction as soon as the capitalist economic system had developed to the point that music could be packaged and distributed for the purpose of earning a profit--in other words, when popular music was born. It was around Victorian times that ordinary people of the Western world were first offered music as a mass commodity, for example, in the phenomenon of Music Hall. The introduction of popular music was simultaneous with the latter part of the Industrial Revolution. This was a time of great change in lifestyle for the great body of the people, notably the migration of the old agrarian communities to the new industrial ones. It is likely that the resulting social disruption helped cut people's emotional bonds to their old folk music, and thereby helped the shift in taste toward popular music. As technology advanced, succeeding generations became enticed with popular music in ever more accessible and desirable forms. Gramophone records became LPs and then CDs; the Music Hall gave way to radio, followed by television. With the ever-increasing success of popular music, the musical life of many individuals eventually ceased to include any folk music at all. Moreover, since popular music for most people is passive music (that is, listened to, but not created or performed), the overwhelming success of popular music also entailed a sharp decline of music as an active, participatory activity.

Stage III: Loss of musical ability in the community

The terminal state of the loss of folk music can be seen in the United States and a few similar societies, where except in isolated areas and among hobbyists, traditional folk music no longer survives. In the absence of folk music, many individuals do not sing. It is possible that non-singers feel intimidated by widespread exposure in recordings and broadcasting to the singing of skilled experts. Another possibility is that they simply cannot sing, because they did not sing when they were small children, when learning of skills takes place most naturally. Certainly it is very common for contemporary Americans to claim that they cannot sing. There is anecdotal evidence that the loss of singing ability is continuing rapidly at the present time. As recently as the 1960s, audiences at American sporting events collectively sang the American national anthem before a game; the anthem is now generally assigned to a recording or to a soloist. Inability to sing is apparently unusual in a traditional society, where the habit of singing folk song since early childhood gives everyone the practice needed to able to sing at least reasonably well.

Regional variation

The loss of folk music is occurring at different rates in different regions of the world. Naturally, where industrialization and commercialization of culture are most advanced, so tends to be the loss of folk music. Yet in nations or regions where folk music is a badge of cultural or national identity, the loss of folk music can be slowed; this is held to be true, for instance in the case of Hungary, Ireland, Brittany, and Galicia, Greece and Crete all of which retain their traditional music to some degree.

Fieldwork and scholarship on folk music

Starting in the 19th century, interested people - academics and amateur scholars - started to take note of what was being lost, and there grew various efforts aimed at preserving the music of the people. One such effort was the collection by Francis James Child in the late 19th century of the texts of over three hundred ballads in the English and Scots traditions (called the Child Ballads). Contemporaneously came the Reverend Sabine Baring-Gould, and later and more significantly Cecil Sharp who worked in the early 20th century to preserve a great body of English rural folk song, music and dance, under the aegis of what became and remains the English Folk Dance and Song Society (EFDSS). Sharp also worked in America, recording the folk songs of the Appalachian Mountains in 1916-1918 in collaboration with Maud Karpeles and Olive Dame Campbell. Around this time, composers of classical music developed a strong interest in folk song collecting, and a number of outstanding composers carried out their own field work on folk song. These included Ralph Vaughan Williams in England and Béla Bartók in Hungary. These composers, like many of their predecessors, incorporated folk material into their classical compositions. In America, during the 1930s and 1940s, the Library of Congress worked through the offices of musicologist Alan Lomax and others to capture as much American field material as possible. Often, fieldworkers in folk song hoped that their work would restore folk music to the people. For instance, Cecil Sharp campaigned, with some success, to have English folk songs (in his own heavily edited and expurgated versions) to be taught to schoolchildren. One theme that runs through the great period of scholarly folk song collection is the tendency of certain members of the "folk", who were supposed to be the object of study, to become scholars and advocates themselves. For example, Jean Ritchie was the youngest child of a large family from Viper, Kentucky that had preserved many of the old Appalachian folk songs. Ritchie, living in a time when the Appalachians had opened up to outside influence, was university educated and ultimately moved to New York City, where she made a number of classic recordings of the family repertoire and published an important compilation of these songs.

Folk revivals

As folk traditions decline, there is often a conscious effort to resuscitate them. Such efforts are often exerted by bridge figures such as Jean Ritchie, described above. Folk revivals also involve collaboration between traditional folk musicians and other participants (often of urban background) who come to the tradition as adults. The folk revival of the 1950's in Britain and America had something of this character. In 1950 Alan Lomax came to Britain, where at a Working Men's Club in the remote Northumberland mining village of Tow Law he met two other seminal figures: A.L.'Bert' Lloyd and Ewan MacColl, who were performing folk music to the locals there. Lloyd was a colourful figure who had travelled the world and worked at such varied occupations as sheep-shearer in Australia and shanty-man on a whaling ship. MacColl, born in Salford of Scottish parents, was a brilliant playwright and songwriter who had been strongly politicised by his earlier life. MacColl had also learned a large body of Scottish traditional songs from his mother. The meeting of MacColl and Lloyd with Lomax is credited with being the point at which the British roots revival began. The two colleagues went back to London where they formed the Ballads and Blues Club which eventually became renamed the Singers' Club and was the first, as well as the most enduring, of what became known as folk clubs. As the 1950s progressed into the 1960s, the folk revival movement built up in both Britain and America. Another example is the Hungarian model, the tanchaz movement. This model involves strong cooperation between musicology experts and enthusiastic amateurs, resulting in a strong vocational foundation and a very high professional level. They also had the advantage that rich, living traditions of Hungarian folk music and folk culture still survived in rural areas, especially in Transylvania. The involvement of experts meant an effort to understand and revive folk traditions in their full complexity. Music, dance, and costumes remained together as they once had been in the rural communities: rather than merely reviving folk music, the movement revived broader folk traditions. Started in the 1970s, tanchaz soon became a massive movement creating an alternative leisure activity for youths apart from discos and music clubs—or one could say that it created a new kind of music club. The tanchaz movement spread to ethnic Hungarian communities around the world. Today, almost every major city in the U.S. and Australia has its own Hungarian folk music and folk dance group; there are also groups in Japan, Hong Kong, Argentina and Western Europe. See also: blues, Harry Everett Smith.

The emergence of popular folk artists

During the twentieth century, a crucial change in the history of folk music began. Folk material came to be adopted by talented performers, performed by them in concerts, and disseminated by recordings and broadcasting. In other words, a new genre of popular music had arisen. This genre was linked by nostalgia and imitation to the original traditions of folk music as it was sung by ordinary people. However, as a popular genre it quickly evolved to be quite different from its original roots. Confusingly, popular (i.e., commercially-disseminated) music based on a folk tradition is called "folk music", no matter how different it may be from a folk music rooted in the community. As a result, some individuals in a modern society are unaware that folk music of the original variety ever existed. The rise of folk music as a popular genre began with performers whose own lives were rooted in the authentic folk tradition. Thus, for example, Woody Guthrie began by singing songs he remembered his mother singing to him as a child. Later, in the 1930s and 1940s, Guthrie both collected folk music and also composed his own songs, as did Pete Seeger, who was the son of a professional musicologist. Through dissemination on commercial recordings, this vein of music became popular in the United States during the 1950s, through singers like the Weavers (Seeger's group), Burl Ives, Harry Belafonte and the Kingston Trio, who tried to reproduce and honor the work that had been collected in preceding decades. The commercial popularity of such performers probably peaked in the U.S. with the ABC Hootenanny [http://www.tvtome.com/Hootenanny/] television series in 1963, which was cancelled after the arrival of the Beatles, the "British invasion" and the rise of folk-rock. The itinerant folksinger lifestyle was exemplified by Ramblin' Jack Elliott, a disciple of Woody Guthrie who in turn influenced Bob Dylan. Sometimes these performers would locate scholarly work in libraries and revive the songs in their recordings, for example in Joan Baez's rendition of "Henry Martin," which adds a guitar accompaniment to a version collected and edited by Cecil Sharp. Publications like Sing Out! [http://singout.org/] magazine helped spread both traditional and composed songs, as did folk-revival-oriented record companies. Many of this group of popular folk singers maintained an idealistic, leftist/progressive political orientation. This is perhaps not surprising. Folk music is easily identified with the ordinary working people who created it, and preserving treasured things against the claimed relentless encroachments of capitalism is likewise a goal of many politically progressive people. Thus, in the 1960s such singers as Joan Baez, Phil Ochs and Bob Dylan followed in Guthrie's footsteps and to begin writing "protest music" and topical songs, particularly against the Vietnam War, and likewise expressed in song their support for the civil rights movement. Such songs were newly written, but took their instrumentation and stanza forms from folk tradition. In Ireland, The Clancy Brothers & Tommy Makem (although the members were all Irish born, the group became famous while based in New York's Greenwich Village, it must be noted), The Dubliners, Clannad, Planxty, The Chieftains, The Pogues and a variety of other folk bands have done much over recent years to revitalise and repopularise Irish traditional music. These bands were rooted, to a greater or lesser extent, in a living tradition of Irish music, and they benefitted from collection efforts on the part of the likes of Seamus Ennis and Peter Kennedy, among others. In Hungary, the group Muzsikás and the singer Márta Sebestyén became known throughout the world due to their numerous American tours and their participation in the Hollywood movie The English Patient and Sebestyén's work with the Deep Forest band.

The blending of folk and popular genres

The experience of the last century suggests that as soon as a folk tradition comes to be marketed as popular music, its musical content will quickly be modified to become more like popular music. Such modified folk music often incorporates electric guitars, drum kit, or forms of rhythmic syncopation that are characteristic of popular music but were absent in the original. One example of this sort is contemporary country music, which descends ultimately from a rural American folk tradition, but has evolved to become vastly different from its original model. Rap music evolved from an African-American inner-city folk tradition, but is likewise very different nowadays from its folk original. A third example is contemporary bluegrass, which is a modified development of American old time music. As less traditional forms of folk music gain popularity, one often observes tension between so-called "purists" or "traditionalists" and the innovators. For example, traditionalists were indignant when Bob Dylan began to use an electric guitar. His electrified performance at the 1965 Newport Folk Festival was to prove to be an early focal point for this controversy. Sometimes, however, the exponents of amplified music were bands such as Fairport Convention, Pentangle, Mr. Fox and Steeleye Span who saw the electrification of traditional musical forms as a means to reach a far wider audience, and their efforts have been largely recognised for what they were by even some of the most die-hard of purists. Traditional folk music forms also merged with rock and roll to form the hybrid generally known as folk rock which evolved through performers such as The Byrds, Simon and Garfunkel, The Mamas and the Papas, and many others. Since the 1970s a genre of "contemporary folk", fuelled by new singer-songwriters, has continued to make the coffee-house circuit and keep the tradition of acoustic non-classical music alive in the United States. Such artists include Steve Goodman, John Prine, Cheryl Wheeler, Bill Morrisey, Christine Lavin and Gundula Krause. Lavin in particular has become prominent as a leading promoter of this musical genre in recent years. Some, such as Lavin and Wheeler, inject a great deal of humor in their songs and performances, although much of their music is also deeply personal and sometimes satirical. In the 1980s a group of artists like Phranc and The Knitters propagated a form of folk music also called country punk or folk punk, which eventually evolved into Alt country. More recently the same spirit has been embraced and expanded on by performers such as Dave Alvin, Ani DiFranco, and Steve Earle. At the same time, a line of singers from Baez to Phil Ochs have continued to use traditional forms for original material. The appropriation of folk has even continued into hard rock and heavy metal, with bands such as Skyclad, Waylander and Finntroll melding distinctive elements of folk styles from a wide variety of traditions, including in many cases traditional instruments such as fiddles, tin whistles and bagpipes as an element of their sound. Unlike other folk-related genres, folk metal shies away from organized religion in favour of more ancient pagan inspired themes. A similar stylistic shift, without using the "folk music" name, has occurred with the phenomenon of Celtic music, which in many cases is based on an amalgamation of Irish traditional music, Scottish traditional music, and other traditional musics associated with lands in which Celtic languages are or were spoken (regardless of any significant research showing that the musics have any genuine genetic relationship; so Breton music and Galician music are often included in the genre). One of the more unusual offshoots of modern folk music is the genre now known as filk, a form of music defined primarily by who its audience is. Folk music is still extremely popular among some audiences today, with folk music clubs meeting to share traditional-style songs, and there are major folk music festivals in many countries, eg the Port Fairy Folk Festival is a major annual event in Australia attracting top international folk performers as well as many local artists. The Cambridge Folk Festival in Cambridge, England is always sold out within days, and is noted for having a very wide definition of who can be invited as folk musicians. The "club tents" allow attendees to discover large numbers of unknown artists, who, for ten or fifteen minutes each, present their work to the festival audience.

Pastiche and parody

Popular culture sometimes creates pastiches of folk music for its own ends. One famous example is the pseudo-ballad sung about brave Sir Robin in the film Monty Python and the Holy Grail. Enthusiasts for folk music might properly consider this song to be pastiche and not parody, because the tune is pleasant and far from inept, and the topic being lampooned is not balladry but the medieval heroic tradition. The arch-shaped melodic form of this song (first and last lines low in pitch, middle lines high) is characteristic of traditional English folk music. A more recent similarly incisive send-up of folk music, this time American in origin, is the film A Mighty Wind by Christopher Guest and Eugene Levy. Another instance of pastiche is the notoriously well-known theme song for the television show Gilligan's Island (music by George Wyle, lyrics by Sherwood Schwartz). This tune is also folk-like in character, and in fact is written in a traditional folk mode (modes are a type of musical scale); the mode of "Gilligan's Island" is ambiguous between Dorian and Aeolian. The lyrics begin with the traditional folk device in which the singer invites his hearers to listen to the tale that follows. Moreover, two of the stanzas repeat the final short line, a common device in English folk stanzas. However, the raising of the key by a semitone with each new verse is an unmistakable trait of commercial music and never occurred in the original folk tradition. Folk music is easy to parody because it is, at present, a popular music genre that relies on a traditional music genre. As such, it is likely to lack the sophistication and glamour that attach to other forms of popular music. Folk music satire ranges from the worst excesses of Rambling Syd Rumpo and Bill Oddie to the deft and subtle artistry of Sid Kipper, Eric Idle and Tom Lehrer. Even "serious" folk musicians are not averse to poking fun at the form from time to time, for example Martin Carthy's devastating rendition of "All the Hard Cheese of Old England" (written by Les Barker), to the tune of "All the Hard Times of Old England", Robb Johnson's "Lack of Jolly Ploughboy," and more recently "I'm Sending an E-mail to Santa" by the Yorkshire-based harmony group Artisan. Other musicians have been known to take the tune of a traditional folk song and add their own words, often humourous, or on a similar-sounding yet different subject; these include The Wurzels and The Incredible Dr. Busker. Filk music is a closely related musical genre which originated as parodies of folk songs, and parody remains a dominant theme of the style. It is evolving into a true folk tradition, however, with songs learned orally that are undergoing the "folk process" of change in melody and text.

Media

External links

Folksong material:
- [http://www.mudcat.org/ mudcat.org], the home of the Digital Traditions (DIGITRAD) folksong database. The latest (2002) edition of DIGITRAD contains lyrics, and in some cases tunes or chords, for around 9000 folk rock, folk revival, and authentic American, English, and Irish folk songs, as well as some parodies. The database may be searched online, or downloaded as a standalone application. Another portal to DIGITRAD with file formats converted to emerging standards (e.g. ABC) is available at http://sniff.numachi.com/~rickheit/dtrad/.
- [http://www.csufresno.edu/folklore/BalladSearch.html The Traditional Ballad Index] search page. Provides bibliographic information and some theoretical genealogical information for many ballads in English.
- [http://www.travel-impressions.de/music/dichosa.htm Photos of Regional and Cultural Genres of Music and Dance]
- http://www.smsu.edu/folksong/maxhunter/. The Max Hunter Folk Song Collection is a set of about 1600 field recordings made by Max Hunter between 1956 and 1976 in the Ozark Mountain region of Missouri. The recordings are downloadable.
- [http://www.birchmore.clara.net/ Northumbrian Traditional Music] The folk music of Northumbria in North-East England.
- The [http://mtcn.free.fr folk music in the county of Nice] (France) : hundreds of MIDI files, lyrics, music sheets.
- http://ingeb.org. A list of folksongs from all over the world
- http://www.volksmusiknet.ch/. Swiss Folkmusic
- Musipedia contains several thousand folk music tunes. [http://www.musipedia.org musipedia.org]
- http://www.tritonus.ch/. Swiss Folkmusic and -instruments
- [http://www.geocities.com/krofnic/index1.htm Pticice] - a free MP3 album of native Serbian music
- http://folktunes.org/. The Folktunes Wiki, with streaming and downloadable songs, lyrics, and all things folk. In its infancy.
- [http://www.folkalley.com FolkAlley.com] - 24-hour streaming folk music
- [http://www.folkandroots.co.uk Folk and Roots]- A guide to the folk scene in the UK
- [http://www.floridamemory.com/Collections/folklife/folklife_cd.cfm Music from the Florida Folklife Collection] - From Shove It Over, a WPA recording of a work song performed by Zora Neale Hurston, to Orange Blossom Special, performed by Gamble Rogers and Will McLean, this CD spans fifty years of Florida folk music. The recordings are downloadable.
- [http://digital.library.wisc.edu/1711.dl/WiscFolkSong Wisconsin Folksong Collection, 1937-1946]. Presented by the [http://uwdc.library.wisc.edu/ University of Wisconsin Digital Collections Center] and [http://music.library.wisc.edu/ Mills Music Library Special Collections]. The Wisconsin Folksong Collection, 1937-1946 contains Wisconsin field recordings, notes, and photographs made by UW-Madison faculty member Helene Stratman-Thomas as part of the Wisconsin Folk Music Recording Project, co-sponsored by the University of Wisconsin and the Library of Congress during the summers of 1940, 1941, and 1946; and recordings collected by song catcher Sidney Robertson Cowell during the summer of 1937 for the Special Skills Division of the Resettlement Administration. Folk Festivals:
- [http://www.folkdranouter.be Folkfestival Dranouter:] An annual folk festival in Belgium, attracting over 70 000 visitors, which combines traditional with contemporary music. History:
- [http://libcom.org/history/articles/revolutionary-song-france People's history: Political folk song in France, 1789-1989]
- [http://libcom.org/history/articles/revolutionary-song-italy People's history: Political song in Italy, 1862-1999] Pastiche and parody:
- [http://arago4.tn.utwente.nl/stonedead/movies/holy-grail/scene-10.html A web page on "The Ballad of Sir Robin", with lyrics and sound file]
- Gilligan's Island theme:
- [http://www.gilligansisle.com/wave.html Sound files]
- [http://www.geocities.com/rickanddarvagossip/gilliganthemesong.html Lyrics: one of many sites ]

References

- English Folk Songs from the Southern Appalachians. Collected by Cecil J. Sharp. Ed. Maud Karpeles. 1932. London. Oxford University Press.
- Carson, Ciaran (1997). Last Night's Fun: In and Out of Time with Irish Music. North Point Press.
- Harker, David (1985). Fakesong: The Manufacture of British 'Folksong', 1700 to the Present Day. Cited in van der Merwe (1989).
- Karpeles, Maud. An Introduction to English Folk Song. 1973. Oxford. Oxford University Press.
- Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0335152759.
- Seeger, Charles (1980). Cited in Middleton (2002)
- Sharp, Cecil. Folk Song: Some Conclusions. 1907. Charles River Books
- van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. ISBN 0193161214. Category:Folk music Category:Folklore ja:フォークソング

Oran, Algeria

:This article is about the city in Algeria. For other uses see Oran (disambiguation). Oran (disambiguation) Oran (population 700,000) (Arabic: ولاية وهران ) is a city in northwest Algeria, situated on the Mediterranean Sea coast. During French rule in Algeria Oran was the prefecture of the Oran département.

Administration

Oran is the capital of a province (wilaya) of the same name.

History

Oran was founded in the 10th century by Moorish Andalusian traders, but was captured by the Spanish under Cardinal Cisneros in 1509. From 1708 to 1732 and from 1791 to 1831, the city was part of the Ottoman Empire, until it fell to the French in 1831. During the French colonial rule over Algeria, Oran was the capital of a département of the same name (number 92). During World War II, Oran was held by Vichy France until it was captured by the Allies in late 1942, during Operation Torch. In July 1940, the British Royal Navy shelled French warships in the port after they refused to respond to a British ultimatum designed to ensure they would not fall into German hands. The action sealed the hatred of Vichy France for Britain but convinced the world, especially the United States, of the British will to fight on alone against Nazi Germany and its allies. After the end of the Algerian War of Independence and the resulting exodus of Europeans and Jews to France, Oran lost about half its population.

Oran today

Today, Oran is a major port and a commercial centre, and has a university. The old quarter of Oran has a casbah and an 18th-century mosque.

Culture

The folk music Raï had its beginnings in Oran.

Fiction

Albert Camus' 1947 novel The Plague takes place in a fictional Oran. Category:Cities in Algeria Category:Coastal cities Category:Provinces of Algeria

Shepherd

A shepherd is one who takes care of sheep, usually in flocks in the fields. Shepherding is one of the oldest professions, beginning some 10,000 years ago in Asia Minor. Sheep were kept for their milk, meat, and especially their wool. Over the next millennia sheep and shepherding spread throughout Eurasia. Some sheep were integrated in the family farm along with other animals such as pigs and chickens. To maintain a large herd, however, the sheep must be able to move from pasture to pasture, this required the development of a profession separate from that of the farmer. The duty of shepherds was to keep their flock intact and protect it from predators, such as wolves. The shepherd was also to supervise the migration of the flock and ensured they made it to market areas in time for shearing. In ancient times shepherds also often milked their sheep, and made cheese from this milk. In many societies shepherds were an important part of the economy. Unlike farmers, shepherds were often wage earners, being paid to watch the sheep of others. Shepherds also lived apart from society, being largely nomadic. It was mainly a job of solitary males without children, and new shepherds thus needed to be recruited externally. Shepherds were most often the younger sons of farming peasants who did not inherit any land. Still in other societies, each family would have a family member to shepherd its flock, often a child, youth or an elderly who couldn't help much with a harder work; these shepherds were fully integrated in society. youth, Montana, August 1942.]] Shepherds would normally work in groups either looking after one large flock, or each bringing their own and merging their responsibilities. They would live in small cabins, often shared with their sheep and would buy food from local communities. Less often shepherds lived in covered wagons that traveled with their flocks. Shepherding developed only in certain areas. In the lowlands and river valleys, it was far more efficient to grow grains and cereals than to allow sheep to graze, thus the raising of sheep was confined to rugged and mountainous areas. In the pre-modern times shepherding was thus centred on regions such as Palestine, Greece, the Pyrenees, and Scotland. In modern times shepherding has changed dramatically. The abolition of common lands in Europe in the eighteenth and nineteenth century moved shepherding from independent nomads to employees of massive estates. European expansion spread sheep around the world, and shepherding became especially important in Australia and New Zealand. While originally shepherding in those countries was done on the wide and open frontiers, in modern times it has become dominated by agribusiness. Metaphorically, the term is used for God, especially in the Judeo-Christian tradition (e.g. Psalm 23), and in Christianity especially Christ. It may also be worth noting that many Biblical heroes were shepherds, among them the Old Testament prophet Amos, who was a shepherd in the rugged area around Tekoa, and King David. See also pashupati. The same metaphor is also applied to priests, with Roman Catholic bishops having the shepherd's crook among their insignia (see also Lycidas). In both cases, the implication is that the faithful are the "flock" who have to be tended.

Music of France

France has long been considered a centre for European art and music. The country boasts a wide variety of indigenous folk music, as well as styles played by immigrants from Africa, Latin America and Asia. In the field of classical music, France has produced a number of legendary composers, while modern pop music has seen the rise of popular French rock, hip hop, techno/funk, and pop performers.

Folk music

Main article: French folk music As Europe experienced a wave of roots revivals, France found its regional cultures reviving traditional music. Brittany, Limousin, Gascony, Corsica and Auvergne were among the regions that underwent a popularization of folk music. Traditional styles of music had survived most in remote areas like the island of Corsica and mountainous Auvergne, as well as the more nationalist lands of the Basques and Bretons. In many cases, folk traditions were revived in relatively recent years to cater to tourists. These groupes folkloriques tend to focus on very early 20th century melodies and the use of the piano accordion.

Central France

Central France incudes the regions of Auvergne, Limousin, Morvan, Nivernais, Bourbonnais and Berry. The lands are the home to the French bagpipe tradition, as well as the iconic hurdy gurdy and the dance bourrée. There are deep differences between the regions of Central France, with the Auvergne and Limousin retained the most vibrant folk traditions of the area. As an example of the area's diversity, the bourrée can come in two distinct rhythms, 3/8 or 2/3; the latter is found in the south of the region, and is usually improvised with bagpipes and hurdy gurdy, while the former is found in the north and includes virtuoso players.

Bagpipe and hurdy gurdy

Main articles: Bagpipe and hurdy gurdy The hurdy gurdy, or vielle-à-roue, is a cross between a violin and a piano accordion. It is made up of a curved, oval body, a set of keys and a curved handle, which is turn and connected to a wheel which bows the strings that are stopped by the keys. There is a moveable bridge, a variable number of drones and hidden sympathetic strings, all of which can also effect the sound. Simpler forms of the hurdy gurdy are also found in Spain, Hungary and Russia. The bagpipe is found in a wide array of forms in France, which has more diversity in bagpipes than any other country. The cabrette and grande cornemuse from Auvergne and Berry are the most well-known. These forms are found at least as far back as the 17th century. Prominent bagpipers include Bernard Blanc, Frédéric Paris and Philippe Prieur, as well as bandleader Jean Blanchard of La Grande Bande de Cornemuses and Quintette de Cornemuses. Frédéric Paris is also known as a member of the Duo Chabenat-Paris, a prominent duo who use elements like mixed polyphonic ensembles and melodies based on the bourrée. Bernard Blanc and Jean Blanchard, along with Eric Montbel from Lyons, were among the musicians who formed the basis of La Bamboche and Le Grand Rouge. It was these two bands who did more than anyone to revitalize the traditions of Central France during the 1970s folk revival. The festival of St. Chartier, a music festival held annually near Chateauroux, has been a focal point for the music of Auvergne and Limousin. The provinces of Morvan and Nivernais have produced some traditional stars, including Faubourg de Boignard and Les Ménétriers du Morvan, respectively. The Nivernais collector Achille Millien was also notable in the early part of the 20th century.

Southern France

Southern France includes the regions of Provence, Béarn, Rousillon, Gascony and Languedoc. The Basques, with their own unique culture, are geographically part of this area, but are culturally and ethnically distinct from any of their French or Spanish neighbors. The Occitan language is in use by some musicians, including Jean-Luc Madier and Rosina de Peira. The Massilia Sound System is a well-known group, specializing in what they call trobamuffin, which is Occitan raggamuffin.

Bal-musette

Main article: Bal-musette The hurdy gurdy became the basis for bal-musette music, which arrived in Paris by 1880 as a result of Auvergnat migration. The influence of Antoine Bouscatel led to bal-musette incorporating the Italian accordion, which soon came to dominate the music. This is the period that produced internationally known masters like Léon Chanal, Emile Vacher and Martin Cayla. Vacher's light style, rhythmic nature and distinctive tremolo defined the genre for many audiences in France and beyond.

Basque

Main article: Basque music The Basques are a unique ethnic group, unrelated to any other in France and with uncertain connections abroad. The main form of Basque folk music is called trikitrixa, which is based on the accordion and includes popular performers like Benat Achiary and Oldarra. The Spanish Basques have had a much more active music scene, especially in the field of traditional music.

Corsica

Main article: Music of Corsica Corsican polyphonic singing is perhaps the most unique of the French regional music varieties. Sung by male trios, it is strongly harmonic and occasionally dissonant. Works can be either spiritual or secular. Modern groups include Canta u Populu Corsu, I Muvrini, Tavagna and Chjami Aghjalesi; some groups have been associated with Corsican nationalism. Corsican musical instruments include the bagpipe (caramusa), 16-stringed lute (cetera), mandolin, fife (pifana) and the diatonic accordion (urganettu).

Brittany

Main article: Music of Brittany Uniquely Celtic in character, Breton folk music has had perhaps the most successful revival of its traditions, partially due to the result of Lorient, France's most popular music festival. The documented history of Breton music begins with the publication of Barzaz-Breizh in 1839. A collection of folk songs compiled by Hersart de la Villemarqué, Barzaz-Breizh helped keep Breton traditions alive. Couple de sonneurs, consisting of a bombarde and biniou, is usually played at festoù-noz celebrations (some are famous, like [http://www.printemps-de-chateauneuf.org Printemps de Chateauneuf]). It is swift dance music and has an older vocal counterpart called kan ha diskan. Unaccompanied call and response singing was interspersed with gwerz, a form of ballad. Probably the most popular form of Breton folk is the bagad pipe band, which features native instruments like biniou and bombarde alongside drums and, in more modern groups, biniou braz pipes. Modern revivalists include Kevrenn Alre Bagad and Bagad Kemper. Alan Stivell is perhaps the most influential folk-rock performer of continental Europe. After 1971's Renaissance of the Celtic Harp, Breton and other Celtic traditional music achieved mainstream success internationally. With Dan Ar Bras, he then released Chemins de Terre (1974), which launched Breton folk-rock. This set the stage for stars like Malicorne in the ensuing decades. Pure folk of modern Brettany include harpists like Anne-Marie Jan, Anne Auffret and Myrdhin, while singers Kristen Nikolas, Andrea Ar Gouilh and Yann-Fanch Kemener have become mainstream stars. Instrumental bands, however, have been the most successful, including Gwerz, Bleizi Ruz, Strobinell, Sonerien Du and Tud.

Music history

Main article: Music history of France French music history dates back to organum in the 10th century, followed by the Notre Dame School, an organum composition style. By the end of the 12th century, a kind of music called the motet arose, accompanied by the spread of travelling musicians called troubadours. In the 14th century, France produced two notable styles of music, Ars Nova and Ars Subtilior. During the Renaissance, Burgundy became a major center for musicald development. This was followed by the rise of chansons and the Burgundian School

Classical music

Main article: French classical music

Opera

Main article: French opera The first French opera may be Akébar roi du Mogol, first performed in Carpentras in 1646. They were followed by the team of Pierre Perrin and Cambert, whose Pastoral in Music, performed in Issy, was a success, and the pair moved to Paris to produce Pomone (1671) and Les Peines et les Plaisirs de l'Amour (1672). Jean-Baptiste Lully, who had become well-known composing ballets for Louis XIV, began innovating a French version of the Italian opera seria, a kind of tragic opera known as tragédie lyrique or tragédie en musique - see (French lyric tragedy). His first was Cadmus from 1673. Lully's forays into operatic tragedy were accompanied by the pinnacle of French theatrical tragedy, led by Corneille and Racine. Lully also developed the common beat patterns used by musical conductors today, and was the first to take the role of leading the orchestra from the position of the first violin.

Classical music era and modern French classical music

Main article: Classical music era During the French Revolution and the subsequent Napoleonic wars, the Paris Conservatory was established and foreigners like Frederic Chopin flocked to France. One of the major French composers of the time, and one of the most innovative composers of the early Romantic era, was Hector Berlioz. In the late 1800s, pioneers like Georges Bizet, Jules Massenet, Maurice Ravel and Claude Debussy revitalized French music. The late 1800s saw the dawn of the music hall when Yvette Guilbert was a major star. The era lasted through to the 1930s and saw the likes of Félix Mayol, Lucienne Boyer, Marie-Louise Damien, Marie Dubas, Fréhel, Georges Guibourg, Tino Rossi, Jean Sablon, Charles Trenet and Maurice Chevalier. This part of the 20th century also saw neo-classical music flourish in France, especially composers like Albert Roussel, Erik Satie and Les Six, a group of musicians who gathered around Satie. Later in the century, Olivier Messiaen and Pierre Boulez proved influential and incorporated non-native influences.

Popular music

Main article: French popular music French popular music in the 20th century included singers like superstar Edith Piaf as well as Monique Serf (Barbara) and Georges Brassens plus the more art-house musicians like Brigitte Fontaine. American and British rock and roll was also popular in the 1950s and 60s, and indigenous rock achieved some domestic success. Punk rock, heavy metal and, especially, electronic music, found some French listeners. In the latter genre, the French electro-pop band Air, Daft Punk and techno artist Laurent Garnier found a wide audience in the late 1990s and early 2000s, both locally and internationally. Algerian rai also found a large French audience, especially Khaled. Moroccan chaabi and gnawa is also popular. American hip hop music was exported to France in the 1980s, and French rappers and DJs, like MC Solaar, also had some success. More recently, electronica groups such as Télépopmusik have had some success.

Rock

Main article: French rock At the end of World War 2, French musicians were becoming wildly experimental and diverse. Popular musicians from the era included romantics like Edith Piaf, politicized singers like Leo Ferre, morbid sex symbols like Juliette Greco, elegant stars like Charles Aznavour and experimental, often humorous, performers like Georges Brassens and the Belgian Jacques Brel. In the 50s, Elvis Presley and rock and roll made inroads in the French music scene. It produced stars like Johnny Hallyday, Richard Anthony, and Claude François, the popular yé-yé girls like Sylvie Vartan and some various music genre like Dalida, who can do anything like italian style music in 50s; twist, pop and rock in the 60s (and later pop, disco, new wave and rock in the 70s and 80s). These were popular female teen idols, and included Francoise Hardy, who was the first to write her own songs. Singer-songwriter Serge Gainsbourg began as a jazz musician in the 1950s and spanned several eras of French popular music including pop, rock, reggae, new wave, disco and even hip hop filtered through his unique sense of black humor, heavily laden with sex and scatology. Though rock was not extremely popular until the 70s, there were innovative musicians in France as the psychedelic rock trend was peaking worldwide. Jean-Pierre Massiera's Les Maledictus Sound (1968) and Aphrodite's Child's