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Decline and decline .. This is how the Iraqi song looks between yesterday and today

Today, the Iraqi song is experiencing a clear decline and decline in its artistic performance compared to what it was in the seventies and eighties of the last century, as it tends to use obscene words, weak vocabulary and melodies with fast dancing rhythms, as well as the use of the method of arousal and sexual temptation and showing women in a manner that is shameless, as it happens. In filming some songs.

Specialists believe that the decline in the Iraqi song is due to the absence of artistic responsibility, the shortcomings of the Artists Syndicate, the lack of distinguished poem poets, in addition to the absence of testing committees to evaluate the advanced singers.

Iraqi composer Ali Sarhan says that many young singers today offended the original Iraqi song by using the word offensive and scratching to all, and some of them sang scandalously, and they are well-known, without this preventing their continued singing.

Sarhan believes that the reality of the Iraqi song has changed in melody, rhythm and color, as some Western, Turkish, Hindi and other melodies entered Iraqi songs, which made it lose its distinct Iraqi color.

He added that he is not against developing the Iraqi song, but that he preserves the Iraqi color and melody, and that the singer takes into account his sophisticated Iraqi fans.

Sarhan considered that many young singers today offended the original Iraqi song (Al-Jazeera Net)

Musical illiteracy

For his part, the veteran Iraqi musician and singer Farouk Hilal pointed out that the Iraqi song went through different stages, most notably the traditional stage during which urban maqam singing was established (singing the city), and the likes of his singers Muhammad al-Qubanji, Nazim al-Ghazali and Yusef Omar, where they were drawn from the ancient heritage, including The Iraqi maqam, its performative forms, and its common rhythms were established on the Arab and local levels.

A mural featuring pictures of many ancient Iraqi singers (Al-Jazeera Net)

He pointed out that the artists of the heritage stage relied on practice in singing work, which made their songs immortal and represented classical Iraqi singing.

After that, various stages of singing continued until 2003, when – as Hilal says – the glamor of authenticity of Iraqi singing ended because of the musical illiteracy that prevailed in the musical milieu after that, and the lyrical chaos spread.

He expressed his hope for a return to originality, “especially after the creators of the musical academic stages became professors who study their specializations, and with them the glorious radiance of Iraqi singing will one day return.”

Al-Khayyat believes that the general taste has decreased among the recipients of the Iraqi song (Al-Jazeera Net)

The absence of control

As for the singer Reda Al-Khayyat, he believes that the Iraqi song has not descended, but it can be said that the general taste has declined among the Iraqi recipient, and this is reinforced by the proposed amount of depravity in text and melody, and he believes that the reason is due to the absence of censorship, the large number of private studios, as well as the large number of television competition programs, Which failed to highlight the stars who have their weight in the music scene, according to Al-Khayyat.

Regarding ways to treat the retreat of the Iraqi song, Al-Khayyat demanded that the text and the melody be made obligatory by specialized evaluation committees, and that the chaos of the private sector be eliminated to raise the level of the Iraqi song.

Al-Khayyat describes the younger generation of current singers as having some very beautiful singing voices, which are promising.

An orchestra for playing, melody and singing during its training in the Department of Musical Arts in Baghdad (Al-Jazeera Net)

Filmmakers without identity

For his part, the director and general manager of the Music Channel Al-Hanin Soran Ali Sharif considered that there is no big difference between the old and contemporary Iraqi songs, as each time has its different rhythm, and the current difference is limited to the length of the song’s time, where we live in the time of the fast song whose time does not exceed 4 Minutes, the opposite of long songs.

As for the lyric text, Sharif believes that the text has become more superficial, and the vocabulary of the street has dominated it.

Sharif considers that the reality of the current Iraqi song from the directorial vision is between good and bad, indicating that the directing profession has generated many “intruders” who were imposed by circumstances and electronic platforms on the directing profession, to become names greater than its awareness and culture, so we find that anyone can now be a director A song without having any directing vision in the directing profession.




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