{"id":3930,"date":"2023-08-02T13:22:28","date_gmt":"2023-08-02T12:22:28","guid":{"rendered":"https:\/\/jazairhope.org\/?p=3930"},"modified":"2023-09-02T13:20:31","modified_gmt":"2023-09-02T12:20:31","slug":"notre-diversite-culturelle-5eme-partie","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/fr\/notre-diversite-culturelle-5eme-partie\/","title":{"rendered":"Notre Diversit\u00e9 culturelle (1\u00e8me partie)"},"content":{"rendered":"<h2>La Musique Andalouse<\/h2>\n<p>J&#8217;ai choisi une chanson malouf modernis\u00e9<\/p>\n<p><div class=\"ose-youtube ose-uid-97f5127dfe592d688049407ef9c5f7e8 ose-embedpress-responsive\" style=\"width:600px; height:550px; max-height:550px; max-width:100%; display:inline-block;\" data-embed-type=\"Youtube\"><iframe allowFullScreen=\"true\" title=\"\u0639\u0628\u062f \u0627\u0644\u0639\u0632\u064a\u0632 \u0628\u0646 \u0632\u064a\u0646\u0629 \u064a\u0628\u0647\u0631 \u0627\u0644\u0645\u062f\u0631\u0628\u064a\u0646 \u0628\u0635\u0648\u062a\u0647 \u0648\u064a\u062e\u0644\u0642 \u062d\u0627\u0644\u0629 \u0627\u0633\u062a\u062b\u0646\u0627\u0626\u064a\u0629 \u0639\u0644\u0649 \u0627\u0644\u0645\u0633\u0631\u062d #MBCTheVoiceSenior\" width=\"600\" height=\"550\" src=\"https:\/\/www.youtube.com\/embed\/S-WcQJsxGCI?feature=oembed&color=red&rel=0&controls=1&start=&end=&fs=0&iv_load_policy=0&autoplay=0&mute=0&modestbranding=0&cc_load_policy=1&playsinline=1\" frameborder=\"0\" allow=\"accelerometer; encrypted-media;accelerometer;autoplay;clipboard-write;gyroscope;picture-in-picture clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div><\/p>\n<p>La musique arabo-andalouse est l&#8217;h\u00e9riti\u00e8re de la tradition musicale arabe transmise au\u00a0<abbr class=\"abbr\" title=\"9\u1d49 si\u00e8cle\"><span class=\"romain\">ix<\/span><sup>e<\/sup><\/abbr>\u00a0si\u00e8cle\u00a0de\u00a0Bagdad\u00a0(alors capitale des\u00a0Abbassides) \u00e0\u00a0Cordoue\u00a0et\u00a0Grenade\u00a0gr\u00e2ce notamment \u00e0 Abou El Hassan Ali Ben Nafiq ou\u00a0Ziriab\u00a0(qui en est consid\u00e9r\u00e9 comme le p\u00e8re<sup id=\"cite_ref-:0_5-0\" class=\"reference\"><\/sup>), musicien brillant qui en cr\u00e9a \u00e0 l\u2019\u00e9poque les bases, en composant des milliers de chants et en instituant le cycle des\u00a0noubat\u00a0(n\u016bb\u0101t<sup id=\"cite_ref-6\" class=\"reference\"><\/sup>\u00a0ou nawbat<sup id=\"cite_ref-7\" class=\"reference\"><\/sup>), compos\u00e9es de formes po\u00e9tiques tels le\u00a0muwashshah\u00a0ou le\u00a0zadjal\u00a0(qui furent l&#8217;une des sources des\u00a0<i>Cantigas de Santa Maria<\/i>\u00a0du roi\u00a0Alphonse X de Castille, du\u00a0flamenco\u00a0et des\u00a0troubadours).<\/p>\n<p><img decoding=\"async\" class=\"alignright\" src=\"https:\/\/jazairhope.org\/wp-content\/uploads\/2023\/09\/imagesqtbn3AANd9GcSXzr9MJ4JMMrOHZJ3x00YDVJ7hS_eaWt9hTwampusqpCAU.jpg\" alt=\"\u0647\u0644 \u0643\u0627\u0646 \u0632\u0631\u064a\u0627\u0628 \u0627\u0644\u0645\u0628\u062f\u0639 \u0627\u0644\u0623\u0648\u0644 \u0644\u0645\u0648\u0633\u064a\u0642\u0649 \u0627\u0644\u0631\u0648\u0643 \u0622\u0646\u062f \u0631\u0648\u0644\u061f | \u062d\u0641\u0631\u064a\u0627\u062a\" \/><img decoding=\"async\" class=\"alignright\" src=\"https:\/\/jazairhope.org\/wp-content\/uploads\/2023\/09\/oud-stand-kos-204-accessories-louta-ud-handike-sala-muzik-musical-instrument_206_compact.jpg\" alt=\"\u0627\u0644\u0639\u0648\u062f \u0633\u062a\u0627\u0646\u062f | \u0639\u0648\u062f \u0633\u062a\u0627\u0646\u062f \u0644\u0644\u0628\u064a\u0639\" \/><\/p>\n<p>Cette musique aura \u00e9galement une influence sur la musique occidentale contemporaine, notamment sur les \u0153uvres de\u00a0Camille Saint-Sa\u00ebns\u00a0\u00e0 la suite de ses contacts avec des musiciens Alg\u00e9riens, tel Mohamed Sfindja<sup id=\"cite_ref-8\" class=\"reference\"><\/sup>.<\/p>\n<p>La nouba se distingue de la\u00a0waslah\u00a0et de la\u00a0qasida\u00a0arabes tant par ses modes que par ses formes. \u00c0 sa suite, Abu Bakr Ibn Yahya Al Sayih, dit Ibn B\u00e2jja ou (Avenpace), po\u00e8te et musicien lui aussi, a mis au point l\u2019accord du\u00a0oud, a perfectionn\u00e9 la nouba et a laiss\u00e9 un grand nombre de compositions.<\/p>\n<p>La musique arabo-andalouse d\u00e9velopp\u00e9e en\u00a0Espagne\u00a0s&#8217;est propag\u00e9e gr\u00e2ce aux \u00e9changes importants entre les centres culturels d\u2019Andalousie\u00a0formant trois grandes \u00e9coles dont se r\u00e9clameront des centres culturels du\u00a0Maghreb<sup id=\"cite_ref-9\" class=\"reference\"><\/sup>\u00a0:<\/p>\n<ul>\n<li>Grenade\u00a0(\u00e0\u00a0Tlemcen<sup id=\"cite_ref-10\" class=\"reference\"><\/sup>,\u00a0Oran<sup id=\"cite_ref-ref-4_11-0\" class=\"reference\"><\/sup>\u00a0Nedroma<sup id=\"cite_ref-ref-1_12-0\" class=\"reference\"><\/sup>\u00a0et\u00a0Sidi Bel-Abb\u00e8s\u00a0en\u00a0Alg\u00e9rie\u00a0\u2013\u00a0Rabat<sup id=\"cite_ref-books.google.fr_13-0\" class=\"reference\"><\/sup>,\u00a0Oujda<sup id=\"cite_ref-ref-2_14-0\" class=\"reference\"><\/sup><sup class=\"reference cite_virgule\">,<\/sup><sup id=\"cite_ref-ref-3_15-0\" class=\"reference\"><\/sup>,\u00a0T\u00e9touan<sup id=\"cite_ref-books.google.fr_13-1\" class=\"reference\"><\/sup>,\u00a0Tanger<sup id=\"cite_ref-16\" class=\"reference\"><\/sup>\u00a0et\u00a0Chefchaouen<sup id=\"cite_ref-:0_5-1\" class=\"reference\"><\/sup>\u00a0au\u00a0Maroc)<\/li>\n<li>Cordoue\u00a0(\u00e0\u00a0Mekn\u00e8s<sup id=\"cite_ref-books.google.fr_13-2\" class=\"reference\"><\/sup>\u00a0au\u00a0Maroc\u00a0\u2013\u00a0Alger<sup id=\"cite_ref-ref-4_11-1\" class=\"reference\"><\/sup>,\u00a0B\u00e9ja\u00efa<sup id=\"cite_ref-ref-1_12-1\" class=\"reference\"><\/sup>,\u00a0Mostaganem<sup id=\"cite_ref-Bestandji_17-0\" class=\"reference\"><\/sup>,\u00a0Cherchell<sup id=\"cite_ref-elwatan2015_18-0\" class=\"reference\"><\/sup>,\u00a0Miliana<sup id=\"cite_ref-19\" class=\"reference\"><\/sup>,\u00a0M\u00e9d\u00e9a,\u00a0Blida<sup id=\"cite_ref-elwatan2015_18-1\" class=\"reference\"><\/sup>\u00a0et\u00a0Kol\u00e9a<sup id=\"cite_ref-elwatan2015_18-2\" class=\"reference\"><\/sup>\u00a0en\u00a0Alg\u00e9rie)<\/li>\n<li>S\u00e9ville\u00a0(\u00e0\u00a0F\u00e8s<sup id=\"cite_ref-:0_5-2\" class=\"reference\"><\/sup>\u00a0au\u00a0Maroc\u00a0\u2013\u00a0Constantine,\u00a0Skikda,\u00a0Annaba\u00a0et\u00a0Souk Ahras\u00a0en\u00a0Alg\u00e9rie<sup id=\"cite_ref-ref-4_11-2\" class=\"reference\"><\/sup>\u00a0\u2013\u00a0Tripoli\u00a0en\u00a0Libye\u00a0\u2013\u00a0Kairouan\u00a0et\u00a0Testour\u00a0en\u00a0Tunisie)<\/li>\n<li>Valence\u00a0(\u00e0\u00a0Tunis<sup id=\"cite_ref-:0_5-3\" class=\"reference\"><\/sup>\u00a0en\u00a0Tunisie)<\/li>\n<\/ul>\n<p>En Alg\u00e9rie, il y a 12\u00a0nouba\u00a0compl\u00e8tes<sup id=\"cite_ref-Marouf19_21-0\" class=\"reference\"><\/sup>\u00a0:\u00a0<i>al-dh\u00eel<\/i>,\u00a0<i>mjenba<\/i>,\u00a0<i>al-hussayn<\/i>,\u00a0<i>raml Al-m\u00e2ya<\/i>,\u00a0<i>ramal<\/i>,\u00a0<i>ghr\u00eeb<\/i>,\u00a0<i>z\u00eed\u00e2n<\/i>,\u00a0<i>rasd<\/i>,\u00a0<i>mazm\u00fbm<\/i>,\u00a0<i>rasd Al-Dh\u00eel<\/i>,\u00a0<i>m\u00e2ya<\/i>\u00a0; et 4 inachev\u00e9es\u00a0:\u00a0<i>ghribet Hassine<\/i>\u00a0\u2013\u00a0<i>araq<\/i>\u00a0\u2013\u00a0<i>djarka<\/i>\u00a0\u2013\u00a0<i>m\u00fbal<\/i>.<\/p>\n<p>Elles sont compos\u00e9es chacune de cinq mouvements de base\u00a0:\u00a0<i>msaddar<\/i>\u00a0&#8211;\u00a0<i>bt\u00e2yh\u00ee<\/i>\u00a0&#8211;\u00a0<i>rarj<\/i>\u00a0&#8211;\u00a0<i>insir\u00e2f<\/i>\u00a0&#8211;\u00a0<i>khl\u00e2s<\/i><sup id=\"cite_ref-Marouf19_21-1\" class=\"reference\"><\/sup>, mais des pr\u00e9ludes et des interludes en portent le nombre jusqu&#8217;\u00e0 sept ou neuf<sup id=\"cite_ref-22\" class=\"reference\"><\/sup>\u00a0:<\/p>\n<ol>\n<li><i>Mestekhber \u00e7an\u00e2a<\/i>\u00a0(Alger) ou\u00a0<i>Mishalia<\/i>\u00a0(Tlemcen): pr\u00e9lude instrumental de rythme libre, ex\u00e9cut\u00e9 \u00e0 l&#8217;unisson\u00a0;<\/li>\n<li><i>T\u00fbshiya<\/i>\u00a0: pi\u00e8ce instrumentale servant d&#8217;ouverture\u00a0;<\/li>\n<li><i>Msaddar<\/i>\u00a0: pi\u00e8ce vocale et instrumentale la plus importante, de l&#8217;arabe\u00a0<i>sadr<\/i>\u00a0:\u00a0<span class=\"citation\">\u00ab\u00a0poitrine\u00a0\u00bb<\/span>\u00a0pour signifier l&#8217;importance de cette pi\u00e8ce vocale\u00a0;<\/li>\n<li><i>Bt\u00e2yhi<\/i>\u00a0: deuxi\u00e8me pi\u00e8ce vocale et instrumentale, construite sur le m\u00eame rythme que le\u00a0<i>M\u00e7edder<\/i>, de l&#8217;arabe\u00a0<i>bataha<\/i>\u00a0: \u00e9tendre, \u00e9taler qui donnera\u00a0<i>batha<\/i>\u00a0d\u00e9signant un vaste lit de torrent.\u00a0;<\/li>\n<li><i>Darj<\/i>\u00a0: troisi\u00e8me mouvement chant\u00e9 et instrumental construit sur un rythme binaire, plus acc\u00e9l\u00e9r\u00e9 que les deux pr\u00e9c\u00e9dentes pi\u00e8ces, du verbe\u00a0<i>daraja<\/i>\u00a0:\u00a0<span class=\"citation\">\u00ab\u00a0marcher, s&#8217;avancer, escalader\u00a0\u00bb<\/span>\u00a0;<\/li>\n<li><i>T\u00fbshiya el Insirafate<\/i>\u00a0: pi\u00e8ce instrumentale annon\u00e7ant une partie acc\u00e9l\u00e9r\u00e9e et vive, construite sur un rythme ternaire, seules deux\u00a0<i>tushiyyat al-insir\u00e2f\u00e2t<\/i>\u00a0subsistent\u00a0: l&#8217;une dans la mode\u00a0<i>ghrib<\/i>, l&#8217;autre dans le mode\u00a0<i>hsin<\/i>\u00a0;<\/li>\n<li><i>Insir\u00e2f<\/i>\u00a0: quatri\u00e8me mouvement vocal et instrumental \u00e0\u00a0rythme ternaire, de l&#8217;arabe\u00a0<i>insir\u00e2f<\/i>\u00a0:\u00a0<span class=\"citation\">\u00ab\u00a0d\u00e9part, d\u00e9capement, acc\u00e9l\u00e9ration\u00a0\u00bb<\/span>\u00a0;<\/li>\n<li><i>Khl\u00e2s<\/i>\u00a0: ultime pi\u00e8ce chant\u00e9e ex\u00e9cut\u00e9e sur un rythme alerte et dansant\u00a0;<\/li>\n<li><i>T\u00fbshiya el Kamal<\/i>\u00a0: pi\u00e8ce instrumentale construite sur un rythme binaire ou quaternaire, de l&#8217;arabe\u00a0<i>kam\u00e2l<\/i>\u00a0:\u00a0<span class=\"citation\">\u00ab\u00a0perfection\u00a0\u00bb<\/span>.<\/li>\n<\/ol>\n<p>Le sous-syst\u00e8me constitu\u00e9 de\u00a0<i>nqlabat<\/i>\u00a0conna\u00eet le rythme\u00a0<i>n&#8217;sraf<\/i>\u00a0emprunt\u00e9 \u00e0 la nuba, plus d&#8217;autres rythmes sp\u00e9cifiques (<i>bashraf<\/i>,\u00a0<i>s\u00fbfi\u00e2n<\/i>,\u00a0<i>berw\u00e2li<\/i>, etc.)<sup id=\"cite_ref-Marouf19_21-2\" class=\"reference\"><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Musique_arabo-andalouse#cite_note-Marouf19-21\">21<\/a><\/sup>.<\/p>\n<p>Les formes po\u00e9tiques qui existent encore sont\u00a0:\u00a0Muwashshah\u00a0&#8211;\u00a0Zadjal\u00a0&#8211;\u00a0Msaddar-\u00a0Shugl\u00a0(po\u00e8me chant\u00e9 populaire)-\u00a0Barwal\u00a0(pratiqu\u00e9 \u00e0\u00a0Constantine) &#8211;\u00a0Melhoun-\u00a0El Wahrani\u00a0(variante oranaise du Melhoun).<\/p>\n<p>Il existait \u00e0\u00a0Alger et \u00e0\u00a0Tlemcen\u00a0quinze nouba, quelques unes d&#8217;entre elles, celles en mode\u00a0jeharkah,\u00a0iraq\u00a0et\u00a0maoual\u00a0ont \u00e9t\u00e9 oubli\u00e9es.<\/p>\n<p>La musique savante arabo-andalouse est appel\u00e9e\u00a0<i>Al moussiqa al andaloussia<\/i>\u00a0(\u00ab\u00a0musique andalouse\u00a0\u00bb) lorsqu&#8217;il n&#8217;est pas fait r\u00e9f\u00e9rence \u00e0 l&#8217;une des trois importantes \u00e9coles pr\u00e9sentes en\u00a0<a title=\"Alg\u00e9rie\" href=\"https:\/\/fr.wikipedia.org\/wiki\/Alg%C3%A9rie\">Alg\u00e9rie<\/a>\u00a0qui pratiquent cette musique avec des nuances distinctes<sup id=\"cite_ref-Tchebwa_24-0\" class=\"reference\"><\/sup>\u00a0:<\/p>\n<ul>\n<li>le\u00a0gharnati, de l&#8217;\u00e9cole de\u00a0Tlemcen, se rattachant \u00e0\u00a0Grenade, il s&#8217;implantera plus tard au d\u00e9but du\u00a0<abbr class=\"abbr\" title=\"20\u1d49 si\u00e8cle\"><span class=\"romain\">xx<\/span><sup>e<\/sup><\/abbr>\u00a0si\u00e8cle, au Maroc, \u00e0 partir de Tlemcen<sup id=\"cite_ref-voyin_25-0\" class=\"reference\"><\/sup><sup class=\"reference cite_virgule\">,<\/sup><sup id=\"cite_ref-Guitouni_26-0\" class=\"reference\"><\/sup>\u00a0et d&#8217;Alger<sup id=\"cite_ref-ref-6_27-0\" class=\"reference\"><\/sup>,<\/li>\n<li>le\u00a0san\u00e2a\u00a0d&#8217;Alger\u00a0se rattachant \u00e0\u00a0Cordoue<\/li>\n<li>le\u00a0malouf\u00a0de\u00a0Constantine\u00a0se r\u00e9clamant de\u00a0S\u00e9ville<\/li>\n<\/ul>\n<h3><strong>A\/ Le Malouf<\/strong><\/h3>\n<h4 align=\"justify\"><span style=\"font-family: 'Times New Roman', Times, serif\"><span style=\"font-size: medium\">L<\/span>e &#8220;malouf&#8221; est la forme qu&#8217;emprunte la tradition musicale arabo-andalouse \u00e0 Constantine et en Tunisie. Ce mot signifie en arabe, &#8220;fid\u00e8le \u00e0 la tradition&#8221;. Fid\u00e9lit\u00e9 au patrimoine musical qui s&#8217;est enrichi dans l&#8217;Andalousie, du VIIIe au XVe si\u00e8cles, dans les cours royales, les c\u00e9nacles intellectuels et les jardins des d\u00e9lices, \u00e0 Grenade, Cordoue, S\u00e9ville, m\u00ealant musulmans et juifs, dans la c\u00e9l\u00e9bration de l&#8217;amour courtois et de l&#8217;\u00e9lan vers Dieu. Avec l&#8217;expulsion d&#8217;Espagne, en 1492, des musulmans et des juifs, s&#8217;est ferm\u00e9e une page, dont les \u00e9chos cependant perdurent dans l&#8217;Ib\u00e9rie d&#8217;aujourd&#8217;hui.<\/span><\/h4>\n<h4 align=\"justify\"><span style=\"font-family: 'Times New Roman', Times, serif\">S&#8217;est ouverte une nouvelle page, en Afrique du Nord et dans toute l&#8217;aire arabo-musulmane, de l&#8217;Oc\u00e9an aux confins de la Perse. Musique vivante, m\u00eame si ses modes savants et , surtout, sa transmission orale l&#8217;ont soumise \u00e0 bien des vicissitudes. Ainsi, des vingt-quatre &#8220;noubat&#8221; originelles, autant de suites correspondant aux heures de la journ\u00e9e, l&#8217;Alg\u00e9rie n&#8217;a-t-elle pu conserver que douze.<\/span><\/h4>\n<p>Liste des plus grands et anciens ma\u00eetres de cette grande musique Malouf\u00a0:<\/p>\n<p>H&#8217;mida ben Lamssabah<br \/>\nNassim Boukebous &#8211; moiti\u00e9 du XIX\u00e8me si\u00e8cle<br \/>\nMohamed Melouk &#8211; fin du XIX\u00e8me si\u00e8cle<br \/>\nBestandji Ahmed &#8211; 1875\/1946<br \/>\nBestandji Abdelkerim &#8211; 1886\/1940<br \/>\nBenlamri Larbi &#8211; 1890\/1966<br \/>\nBaba Alaoua Bentabal &#8211; 1890\/12-08-1976<br \/>\nKara Beghli Abdelrahman (dit baba oubaid adou) &#8211; 1886\/1956<br \/>\nOmar Chnouffi (dit chakleb) &#8211; 1857\/1964<br \/>\nTahar Benlamrabat &#8211; 1898\/1947<br \/>\nTahar ben Kertoussa &#8211; 1881\/1946<br \/>\nAli Khodja Ali (dit si h&#8217;souna) &#8211; 1856\/1971<br \/>\nBerachi Mamar &#8211; 1904\/1981<br \/>\nToumi Siaf Abdelkader &#8211; 1906\/2005<\/p>\n<p>Voici, tir\u00e9 du livre de Maya Sa\u00efdani &#8221;LA MUSIQUE DU CONSTANTINOIS&#8217; &#8216;, Editions Casbah, un tableau contenant la majorit\u00e9 des grands interpr\u00e8tes et ma\u00eetres du Malouf, n\u00e9s entre 1810 et 1957.<\/p>\n<table border=\"1\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td width=\"237\">\n<h4><strong>Nom et pr\u00e9nom<\/strong><\/h4>\n<\/td>\n<td width=\"138\">\n<h4><strong>Ann\u00e9e de naissance<\/strong><\/h4>\n<\/td>\n<td width=\"95\">\n<h4><strong>Ann\u00e9e de mort<\/strong><\/h4>\n<\/td>\n<td valign=\"top\" width=\"105\">\n<h4><strong>\u00c2ge \u00e0 la mort<\/strong><\/h4>\n<\/td>\n<td width=\"185\">\n<h4><strong>Principaux instruments jou\u00e9s<\/strong><\/h4>\n<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Benm&#8217;sabah H&#8217;mida<\/td>\n<td width=\"138\">\n<p align=\"center\">1810<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1905<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">95<\/p>\n<\/td>\n<td width=\"185\">Darbouka<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Benkurat<\/td>\n<td width=\"138\">\n<p align=\"center\">1824<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1907<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">83<\/p>\n<\/td>\n<td width=\"185\">Alto<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Maluk<\/td>\n<td width=\"138\">\n<p align=\"center\">1830<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1914<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">84<\/p>\n<\/td>\n<td width=\"185\">Darbouka<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Nabet Y.<\/td>\n<td width=\"138\">\n<p align=\"center\">1830<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1893<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">63<\/p>\n<\/td>\n<td width=\"185\">Ud arbi<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Bestandji Ahmed<\/td>\n<td width=\"138\">\n<p align=\"center\">1875<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1946<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">71<\/p>\n<\/td>\n<td width=\"185\">Ud arbi<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Belkartoussa Tahar<\/td>\n<td width=\"138\">\n<p align=\"center\">1881<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1946<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">65<\/p>\n<\/td>\n<td width=\"185\">Fl\u00fbte<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Fergani Hamou<\/td>\n<td width=\"138\">\n<p align=\"center\">1884<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1971<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">87<\/p>\n<\/td>\n<td width=\"185\">Ud arbi<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Karabaghli Baba Abid<\/td>\n<td width=\"138\">\n<p align=\"center\">1886<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1956<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">70<\/p>\n<\/td>\n<td width=\"185\">Fl\u00fbte<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Bestandji Abdelkrim<\/td>\n<td width=\"138\">\n<p align=\"center\">1886<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1940<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">54<\/p>\n<\/td>\n<td width=\"185\">Ud arbi<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Bouhouala Omar<\/td>\n<td width=\"138\">\n<p align=\"center\">1889<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1978<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">89<\/p>\n<\/td>\n<td width=\"185\">Darbouka<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Bentobal Allaoua<\/td>\n<td width=\"138\">\n<p align=\"center\">1892<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1969<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">77<\/p>\n<\/td>\n<td width=\"185\">Darbouka<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Belamri<\/td>\n<td width=\"138\">\n<p align=\"center\">1893<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1966<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">73<\/p>\n<\/td>\n<td width=\"185\">Darbuka<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Ali Khdja H&#8217;Souna<\/td>\n<td width=\"138\">\n<p align=\"center\">1896<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1971<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">75<\/p>\n<\/td>\n<td width=\"185\">Darbuka<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Chennoufi Omar, dit Omar Chaqlab<\/td>\n<td width=\"138\">\n<p align=\"center\">1902<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1942<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">40<\/p>\n<\/td>\n<td width=\"185\">Darbuka<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Bemdjelloul Mohamed<\/td>\n<td width=\"138\">\n<p align=\"center\">1902<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1980<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">78<\/p>\n<\/td>\n<td valign=\"top\" width=\"185\"><\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Ammouchi Brahim<\/td>\n<td width=\"138\">\n<p align=\"center\">1903<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1990<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">87<\/p>\n<\/td>\n<td width=\"185\">Mandoline<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Berrachi Maamar<\/td>\n<td width=\"138\">\n<p align=\"center\">1904<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1989<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">85<\/p>\n<\/td>\n<td width=\"185\">Darbuka<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Toumi Abdelkader<\/td>\n<td width=\"138\">\n<p align=\"center\">1906<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">2005<\/p>\n<\/td>\n<td valign=\"top\" width=\"105\">\n<p align=\"center\">99<\/p>\n<\/td>\n<td width=\"185\">Alto<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Raymond Leyris<\/td>\n<td width=\"138\">\n<p align=\"center\">1912<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1961<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">49<\/p>\n<\/td>\n<td width=\"185\">Ud arbi<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Fergani Zwawi<\/td>\n<td width=\"138\">\n<p align=\"center\">1913<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1995<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">82<\/p>\n<\/td>\n<td width=\"185\">Ud arbi<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Benlabdjaoui Abdelhamid<\/td>\n<td width=\"138\">\n<p align=\"center\">1914<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">1978<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">64<\/p>\n<\/td>\n<td width=\"185\">Tar<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Ghenassia Sylvain<\/td>\n<td width=\"138\">\n<p align=\"center\">1914<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">2004<\/p>\n<\/td>\n<td valign=\"top\" width=\"105\">\n<p align=\"center\">90<\/p>\n<\/td>\n<td width=\"185\">Alto<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Darsouni Mohamed dit Kaddour<\/td>\n<td width=\"138\">\n<p align=\"center\">1927<\/p>\n<\/td>\n<td valign=\"top\" width=\"95\"><\/td>\n<td valign=\"top\" width=\"105\"><\/td>\n<td width=\"185\">Fl\u00fbte<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Bentobal Abdelmoumen<\/td>\n<td width=\"138\">\n<p align=\"center\">1928<\/p>\n<\/td>\n<td width=\"95\">\n<p align=\"center\">2004<\/p>\n<\/td>\n<td width=\"105\">\n<p align=\"center\">76<\/p>\n<\/td>\n<td width=\"185\">Ud arbi<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Fergani Mohamed-Tahar<\/td>\n<td width=\"138\">\n<p align=\"center\">1928<\/p>\n<\/td>\n<td valign=\"top\" width=\"95\">\u00a0 \u00a0 \u00a0 \u00a02016<\/td>\n<td valign=\"top\" width=\"105\"><\/td>\n<td width=\"185\">\n<h4>Tous<\/h4>\n<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Fergani Salim<\/td>\n<td width=\"138\">\n<p align=\"center\">1953<\/p>\n<\/td>\n<td valign=\"top\" width=\"95\"><\/td>\n<td valign=\"top\" width=\"105\"><\/td>\n<td width=\"185\">Ud arbi<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Sammar Mustapha<\/td>\n<td width=\"138\">\n<p align=\"center\">1953<\/p>\n<\/td>\n<td valign=\"top\" width=\"95\"><\/td>\n<td valign=\"top\" width=\"105\"><\/td>\n<td width=\"185\">Ud arbi<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Zaarour Mohamed-Ch\u00e9rif<\/td>\n<td width=\"138\">\n<p align=\"center\">1954<\/p>\n<\/td>\n<td valign=\"top\" width=\"95\"><\/td>\n<td valign=\"top\" width=\"105\"><\/td>\n<td width=\"185\">Fl\u00fbte et guitare<\/td>\n<\/tr>\n<tr>\n<td width=\"237\">Bouda Kamel<\/td>\n<td width=\"138\">\n<p align=\"center\">1957<\/p>\n<\/td>\n<td valign=\"top\" width=\"95\"><\/td>\n<td valign=\"top\" width=\"105\"><\/td>\n<td width=\"185\">Alto<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Remarquez que Le maestro Mohamed Tahar Fergani jouait de tous les instruments, ce qui est vraiment rare.<\/p>\n<p><img decoding=\"async\" class=\"alignleft\" src=\"https:\/\/jazairhope.org\/wp-content\/uploads\/2023\/09\/26eac993-490c-446c-b2ee-994735188725.jpg\" alt=\"Listen to Hadj Mohamed Tahar Fergani - Bacheraf Maya\" \/> <img fetchpriority=\"high\" decoding=\"async\" class=\"alignleft\" src=\"https:\/\/jazairhope.org\/wp-content\/uploads\/2023\/09\/imagesqtbn3AANd9GcRsVaLl-CVV27JSjQBxWiGjnWAERClPdXaFRwampusqpCAU.jpg\" alt=\"Mohamed Tahar Fergani : Une biographie en chantier | Niooz.fr\" width=\"534\" height=\"299\" \/><img decoding=\"async\" class=\"\" src=\"https:\/\/lh3.googleusercontent.com\/proxy\/PLxMdg1RKGxAYGXKtEuAIcFMJLS9GsVj2xCuSk0iGU4gBrx48o4rm-2hcsfH_DGyIkSB9ToEt3-q_gXtod6LCx2VzSJnx9lBwUfuZ9p3zrdOz44WVnbiGQ972MIeAh0X8AtfHz4\" alt=\"Le TRC baptis\u00e9 du nom de Tahar Fergani, en reconnaissance de son talent\" width=\"532\" height=\"299\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>A suivre&#8230;.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La Musique Andalouse J&#8217;ai choisi une chanson malouf modernis\u00e9 La musique arabo-andalouse est l&#8217;h\u00e9riti\u00e8re de la tradition musicale arabe transmise au\u00a0ixe\u00a0si\u00e8cle\u00a0de\u00a0Bagdad\u00a0(alors capitale&hellip;<\/p>\n","protected":false},"author":1,"featured_media":3948,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[32,34,39],"tags":[],"class_list":["post-3930","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-algerie","category-art-fr","category-articles-en-vedette","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Notre Diversit\u00e9 culturelle (1\u00e8me partie) - AAH.JZR<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jazairhope.org\/fr\/notre-diversite-culturelle-5eme-partie\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" 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