أسلوب صياغة قالب السماعي في مقام الفرح فزا عند كل من الشريف محي الدين حيدر و محمد عبد الوهاب : دراسة مقارنة

الملخص EN

Sama’i is an important automatic template in Arab music, and it is a microcosm of honor in terms of its composition of four boxes and its delivery, but it differs from it in terms of rhythm, and after if all the hearing aids are Turkish, we find that the Egyptians formulated a large group of audios characterized by quality and the artistic plot of them.

Ibrahim Al-Erian, Abdel-Moneim Al-Hariri and Muhammad Abdel-Wahhab “Also some Arab composers penned audios such as“ Tawfiq Al-Sabbagh and Jamil Owais ”from Syria,“ Ahmed Baqer ”from Kuwait,“ Saleh Al-Mahdi ”from Tunisia, and Sharif Muhyiddin Haider from Iraq, where he started Muhammad Abdel-Wahhab is a completely new stage in the history of Arab music, he composes purely musical compositions that are not accompanied by singing, and the Sheriff Muhyiddin Haidar, who tended and was attracted to music, began trying to play what he heard from the songs on the piano, and when he reached the age of seven, he began to learn the oud.

By himself, the two have excelled in composing Qalabi Sama'i in Maqam Al Farah Faza, which prompted the researcher to shed light on these two authors in their composing an Sami template in the same place and extract the technical features of them through comparative analytical study.

The research objectives were: 1) Learn about the personal and artistic lives of Sharif Muhyiddin Haidar and Muhammad Abdel Wahab.

2) Identify the method of formulating Sharif Muhyiddin Haidar and Muhammad Abdel Wahab for the Al Sama’i template in Maqam Al Farahfza.

3) Attempt to overcome the technical difficulties of Sama'i Farah.

Sharif Muhyiddin Haidar and Muhammad Abdul Wahhab won for each of the Sharif Muhyiddin Haidar and Muhammad Abdul Wahhab through musical instructions on the lute.

The research used the descriptive method (comparative content analysis) and the research was divided into two parts: First: The theoretical framework for the research, which contained an overview of the personal and artistic life of Sharif Muhyiddin Haidar and a summary of the personal and artistic life of Muhammad Abd al-Wahhab, then followed by the template of al-Sama’i, and then secondly: the analytical framework (the comparative study) between two different authors, namely Sharif Muhyiddin Haider and Muhammad Abdel Wahab And one template, which is the template of the sam’i and one maqam, which is the maqam of al-Farah Fazaa, and in this part the researcher presented and analyzed the two hearers and stood on the formulation of these two hearers and made a comparison in the transitions used by the authors and the rhythms used, then identifying the technical difficulties that existed within the hearers and trying to overcome them through the musical instructions that were formulated by them Through research recommendations.

This was followed by research results, suggested recommendations, references and research sources, and research abstracts in Arabic and English.