Lips croon interaction with the fingers of the players, and heads swaying thrill to the words and melody in tune, so was the case for the present house concerts primarily in Baghdad, which closed years ago. Pioneers of the Iraqi Maqam and the generations that followed them have become part of the memory of originality, in the country trained to oblivion at the time of lost security, after it became home to a place in Baghdad and neglected Band migrated to neighboring countries. Some small difference that she started singing and foremost, I moved to Kurdistan, to give performances there attracted lovers of this beautiful art which is over the age of 400 years.
Says one of the happiest beautiful singers Iraqi Maqam: «We can no longer continue in Baghdad, We left for work in a restaurant the region, hoping to return one day».
Set on fire at a building in Mosul, the Iraqi Maqam Finally, the detection of deep suffering of this art, which began gradually dying in Iraq since the militants began to impose their taste on the Iraqi street, so that the decline of militancy did not encourage the teams to return. Iraqi Maqam, which blared by the throats of Mohammed Qabbanji and Yusuf Omar and Hashim Rajab and Nazem al-Ghazali, and scores of others consists of chapters of the most important shrine Bayat, Hjaz, docked, and the nuclei or Hosni, and based tools on the three machines is a machine Dulcimer, and the nut, and the tabla as well as the machine of slavery, with the text Iraqi dialect. Al-Ghazali was a senior Iraqi singers who performed the Iraqi Maqam perfectly great, because the memory is still kept some of those Iraqi songs like «or Abaya» and «Teach him Lhaloan» and others.
Leadership which it is famous artists men in this area was not exclusive to them, women have played a similar role in this area, as she sang singer Iraqi chaste Iskandar colors of the keys in the fifties of the last century, the famous artist unique performance shrines for many years also, the last singer Iraqi taken of the place are color coded to her songs. The Iraqi Maqam for a number of earlier composers, a mainstay for the production of templates singing a beautiful place, and has become a source song draws from Iraq in the seventies of the twentieth century and Osmaninath.
Mayahi Saad says that the music composers of new neglected place in great shape and they are now dependent on the new color of the singing, which caused a major crisis in the artistic taste of the song in Iraq.
With the exception of singer Kazem Al Saher, Iraqi singer has not focused the last generations to adopt a modern place in the melody according to Mayahi.
Today, the distinctive identity of the Iraqi Tarab, fell and turned into small teams Matarboha curfew safe places away from the noise of Baghdad
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