Sherif Hassan - Cairo
In light of the spread of popular singer Magdy Shata on the social networking sites, and the emergence of the musician and critic Hilmi Bakr usual with each singer or a new phenomenon as if he owns the instrument of songs and musical templates, the question arose: Is what the singer Magdi Shata presents the same musical template for the popular song? Or does he offer the same as Mohamed Abdelmutallab or Mohamed Rushdie or even Ahmed Adawia and Hassan Asmar? This question seemed urgent to the search for answers, it opens the way to wonder what the popular song away from any technical assessments and cash for what everyone offers.
Popular song roots
In the beginning Folk Folk was the main root of the song in general before it began to be popular or not. Most of the chants between the end of the 19th century and the beginning of the twentieth century have a heritage origin, and with the development of the form of the cataclysm, the original source of the Egyptian and heritage song, Thinking about why not make our own song? Why do not we use vocabulary used in that period? An extended song by the mobile singer in the Egyptian countryside, not only in words but also on the melody to be a pathway and based on oriental music in full, and specifically on Egyptian music.
It was the most important field of experimentation of the popular song, and began to show new singers singing this form, such as Abdo Srouji, Abdul Ghani Al Sayed, Ibrahim Hamouda, Mohamed Abdul Muttalib, Karim Mahmoud, Abbas Blida, Horya Mohammed and Darya Jalal and Horya Hassan and Suad Makkawi Mohammed Fawzi, and poets write the Egyptian vernacular and the Egyptian eagle , And composers coming from within the rural and popular climates.
Out of the cloak of folklore
As a simple example of evolution, we can follow the march of Abdul Muttalib to understand the idea of changing the shape of the popular song, Abdelmuttalib in the 1920s presented the song "and my religion on the country beloved" composed by Dawood Hosni, a song influenced by folklore clearly in words and melody and even the way of singing Abdul Muttalib , And then the clear development in the song "ask me to love you" in terms of getting out of the mantle of folklore, and a new popular song with the composer Mahmoud Sharif in the early thirties.
The flourishing of the radio alongside the cinema was an important factor in the spread of the popular song for its dance and full review, and what was happening in the singing halls to the cinema in the form of reviews, and radio in the form of Operett.
And the emphasis on the concept of the folk song coming from folklore, as we explained earlier, are evident in the "sketches" that were presented in the cinema, and carry many forms of music, sometimes Egyptian, Upper Egypt, Scandinavian and Delta, and other times we find reviews include singing Egyptian and Shamia and Bedouin and Sudani, Other songs outside the boundaries of Eastern and Arabic music but are adapted to oriental music, all based on popular music in those countries and regions, and some vocabulary and dialects.
All interacted with the popular song at the time, because it is an Egyptian song full of identity and privacy, was not affected by any foreign musical form of Turkish or Shamia, so everyone sang a popular art, Abdel Wahab sang "Traini Carat Iraik Caratin" and " At first she refused to sing on the beloved country and sang it Abdu Al-Saruji. She retreated from her decision and sang it later because she realized the beauty of the melody and the importance of singing it. Then we will find a song like "Say No Tears" On folklore, even if it was rewritten and added modifications to the melody I pray, as a "ladder", or add variations on to themes and tune themselves.
Problems of popular song
By the end of the 1940s, the popular song had achieved an indisputable position, and it had a clear form of words and a different way of telling about the regular song or poem. Even before the 52 Revolution, the radio was broadcasting new popular songs such as the song " That time Mohammed Rushdie.
With the revolution of 52, there was more change and interest in the popular song, and the emergence of the folkloric song began, either by presenting it in a new dress as was done by Baligh Hamdi and sometimes by the wave, or by presenting singers from villages, governorates and elves by Professor Zakaria Hijjawi, Such as Adham Cherkaoui, Hassan, Naima, Shafika, Metwalli and other stories, were a popular artistic awakening, confirming the return of lands and peasants to their state and the departure of the monarchy, with the emphasis on reintroducing the popular song, focusing on the idea of the Savior.
One of the most popular problems in the world of popular song is the classification of the song popular or not, and that depends on the performance beside words and melody. Performance is a very important element in the introduction of the popular song, many of the songs performed by popular singers, and then re-introduced by popular singers or vice versa. Their lyrics and melodies were popular and tasteful, and popular singers added a special flavor to the song, Loss of loss "or" sweet and liar ", and Halim and Mohamed Qandil singing for the song" Ya Rayehin Ghouriya ", and the difference between the two versions, and the ideal performance of Kandil by Abdel Halim of course.
In the 1930s and 1940s, the singer was able to present popular and popular form as well, such as Karim Mahmoud and Abdel Ghani El Sayed. Gradually, the singer became more interested in focusing on one place, and the voices became limited to singing in poems and roles. , Despite its tremendous ability to sing popular and money, such as Abdul Muttalib and Shafiq Jalal, Mohammad Rushdie and Adawiya.
There are always two forms of popular song, you will find Sharifa Fadel, and also Badriya Sayed and Shafiqa, Hassan Asmar, Majdi Talaat and Raman Al-Prince, you will find Shafiq Jalal, in contrast Anwar al-Askari and Abdo Alskandrani, presenting the same musical form.
But there is a difference that excites excellence and privacy, and provides a clear and comprehensive format of the place and time, it did not differ after that, both sides continued to provide evidence of their identity, and began to reduce distances between the two theaters because of cinema and social media, but the popular song remains identity and identity embodied in Its vocabulary, its melody and the way it is sung, and for every period of its identity, then it is impossible to compare Majdi Shata, Abdel Muttalib or any other, you can criticize or reject him according to his time, but everyone remains swimming in the world of popular song.