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CD

Muhamed el Amin

Voice of Sudan
House of the Cultures of the World
Product number: SM 15232
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Product Details

Description

The lute style can also be highly personal, as is demonstrated by the great technical virtuosity and unsurpassed intuitive talent of Muhamed El Amin, who influenced an entire generation of young musicians. Born in 1943 in the city of Oued Maddani, he began to learn the lute at the age of eleven. At twenty he composed his first songs and experimented with traditional Eastern maquamat. In Muhamed El Amin’s work the style of the "great songs", the "al-agani al kabira" is especially evident. His arrangements are not simply melodic potpourris but through-composed works.

Content

Al-Jarida
The Longing and Yearning
Obituary
Life
Eyes of Hope
Fullmoon over the Castle
Habibi

More Information

Title:
Muhamed el Amin
Voice of Sudan
House of the Cultures of the World
Sudan Muhamed El-Amin: ud and voice
Publisher/Label:
Wergo
Duration:
70 ′44 ′′
Series:

Technical Details

Product number:
SM 15232
MAN EAN:
4010228152326
Weight:
0,11 kg

More from this series

Music of World Cultures
World Music – What Is Distant? What Is Near? World Music is a not uncontroversial term for the rich variety of musical culture of our planet, and it comprises not only the musical traditions of the rural parts of Africa, Asia, and Latin America but also those of the high cultures of the Indian subcontinent, Japan, and China as well as the popular music of urban metropolises throughout the world today. This edition of CDs, most of which were produced in cooperation with Berlin’s House of the Cultures of the World and the Music Department of Berlin’s Ethnological Museum, mixes up the categories of “foreign” and “familiar” not only by bringing closer things that are unknown and unfamiliar but also by revealing the familiar in the foreign and the foreign in the familiar. The encounter with the varied musical ideas that exist outside of our own culture has made us more aware of our own categories and shown us that we can no longer operate with a single compulsory aesthetic but that we must instead speak of innumerable distinctive aesthetics. This conclusion is supported both by the extraordinary recordings and the high quality of the booklet texts on the WELTMUSIK label.

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