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  • 7/12/2025
مدي 1 تي في : مع منى هلالي - 11/07/2025

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07:00Then I grew up with a musician who played Darbuqa, Bindié, who taught music in Morocco in autodidact.
07:07He was already in the conservatory in France.
07:11So I was already thinking about choosing an instrument, when I heard the harp in the film.
07:18You have a French accent, a French accent, a French accent, a French accent, a French accent.
07:27From the Arabic?
07:30Are you理解 that there are the same answers?
07:33No, you don't want to be afraid to be a Russian accent.
07:39What did you begin to learn?
07:43In the same year I was younger.
07:46Did you learn the Arabic or the Arabic?
07:49With your wife to them.
07:51How many Arabic do you learn the Arabic?
07:53In the Arabic Arabic.
07:56What's your name?
08:00I'm sorry.
08:04I'm going to concentrate.
08:06I'm going to interview you.
08:08We're going to interview you.
08:10You can start the Arabic and you can start the Arabic language.
08:12What are your inspirations?
08:14I'm inspired by all the traditional music.
08:20That's what I'm inspired the most.
08:22That's my taste.
08:24So...
08:26That's it.
08:27How did you get your first contact with the Arabic language?
08:32I got a small picture in this anime.
08:34I'm going to go to the conservatory.
08:36In France, there's an Arabic language.
08:40So...
08:42You can learn...
08:44Even the little children can learn directly.
08:48They can start the Arabic language.
08:50You've inspired you so much.
08:52You've heard the Arabic language in the conservatory.
08:54You've heard the Arabic language in the conservatory.
08:56Yes.
08:57Okay.
08:58How do you know the Arabic language?
08:59The Arabic language is a bit mysterious.
09:02Yes, it's rare.
09:04Even in France...
09:06Even in France...
09:08There's an Arabic language in the world.
09:09Yes, it's true.
09:10It's true.
09:11It's true.
09:12It's true.
09:13In fact, there's an arp.
09:16Okay.
09:17There's an arp.
09:18This arp, for example, is an arp...
09:21I think...
09:22It's an arp.
09:24It's an arp.
09:25So, it's an arp.
09:26It's already European.
09:27Okay.
09:28It's an arp.
09:29It's an arp.
09:30It's an arp.
09:31It's an arp.
09:32It's an arp.
09:33It's an arp.
09:34But there's an arp in the world.
09:37Or in Africa.
09:39Afrikiya.
09:40Afrikiya.
09:41Yes.
09:42There's an arp.
09:43There's an arp.
09:44Okay.
09:45An arp is a lot of arp.
09:47It's an arp.
09:48Yes.
09:49What's the biggest arp in the arp?
09:52Yes.
09:532-3 mètres?
09:54Yes.
09:55Like that, it's almost 2m.
09:56I don't know exactly, but it's a large.
09:59When I talk about arp, there's a lot of arp.
10:02There's a lot of arp.
10:03There's a lot of arp.
10:04There's a lot of arp.
10:05So, these are more small models,
10:06that we'll find in traditional music.
10:07But the large arp, the classical arp,
10:10it's 2m.
10:11Okay.
10:12Is there a difference between
10:13that you play a large arp?
10:15Or what's the difference between
10:18a medium arp?
10:20Yes.
10:21In fact,
10:22we call the pédales.
10:24These are the pédales.
10:25The pédales,
10:26it's the way to change the notes.
10:28Because there's no other notes.
10:30In fact,
10:32for those who play the piano,
10:34it's like if you see a piano…
10:36The pédales,
10:37it's the piano.
10:38Yes.
10:39In fact,
10:40it'll just change the sound.
10:41It'll change the chord, in fact.
10:42What's the chord?
10:43In the guitar,
10:44what's the chord?
10:45For those who play the piano,
10:49the pédales,
10:50it'll sound more or less.
10:52But on the arp,
10:53the arp like that,
10:54they'll change the notes.
10:56For example,
10:57on this arp,
10:58it's…
10:59…
11:00…
11:01…
11:02…
11:03…
11:05It's the classical arp.
11:06So,
11:07the classical arp.
11:09In the orchestras,
11:10the harpist,
11:11they play with their feet.
11:12It doesn't see that,
11:13but there's a great work of feet.
11:14Okay.
11:15And they play with them.
11:16So, it's physical, the arp?
11:17Yes,
11:18yes.
11:19Yes.
11:20The arp,
11:21it's an elite instrument?
11:23I think there is this dimension,
11:27especially the harp,
11:29as we saw the harp to pedal,
11:31since it was played in the courts.
11:33So there is this dimension
11:35a little elitist,
11:37especially when it was developed.
11:39In other words,
11:41we started developing
11:43great instruments,
11:45more and more important instruments.
11:47It's because
11:49it's more popular music,
11:51that people transport their instruments easily.
11:55So there is this dimension-là,
11:57but I think
11:59that his usage is quite democratised,
12:01especially with the conservators.
12:03Yes.
12:05Maybe the harp is modern.
12:07Yes, now,
12:09in fact,
12:11as his usage is democratised
12:13with the conservators,
12:15the children who come and learn
12:17and learn to play like that,
12:19that's the time
12:21when he was part of a royal school
12:22to learn the harp.
12:23It was the case
12:24in the 18th century.
12:25But now,
12:27there are a lot of harpists
12:28who do many different things.
12:29So I think there is
12:30everything that exists.
12:31What do you call the cliché
12:32that you can use
12:33on the harp instrument?
12:34I think
12:35I think
12:36I think
12:37I think
12:38the
12:39and the
12:41I think
12:42but
12:43I think
12:44it's really
12:45that's the thing.
12:46It's true,
12:47but
12:48it can do other things.
12:49It can play rock,
12:50an harp?
12:51Yes, why not.
12:52It can play pop,
12:53jazz.
12:54Yes,
12:55it's true,
12:56there's Dorothy H.B.,
12:58who is a harpist of jazz.
13:01There are many cliches, but you can imagine that the harp can only play Greek music,
13:13younani music, classical music, medieval music, but it can be a bit modern.
13:21Yes, of course, I think it can do many different things.
13:27The harp is an accompanist, where you can be a soloist, or you can be the main artist by being just an artist?
13:39Yes, the two are possible. It's possible to be a soloist, of course.
13:43Do you have the compositions? Do you want to compose? Do you want to compose?
13:49Yes, I'm currently working on a album project.
13:55I'm currently working on this autumn.
14:01And yes, that's it.
14:05So, the next album? Yes.
14:07Yes, of course.
14:09Do you remember the harp, or the canon?
14:13Yes, in fact, it's all etalized.
14:15So, all the cords are etalized in the canon.
14:18And in the harp, it's the same thing, but vertical.
14:22And also, in the canon, they have the groups, the groups, the groups, the groups, the groups.
14:34From the harp, they also reflect the possibilities.
14:37Okay.
14:38In the canon, they're very good.
14:41I would like to find a luthier that would make a system like the Kanun, but on the harp,
14:53to be able to play the oriental style more easily.
14:56But there are a lot of cordes, but there are a lot of cordes, but I have a lot of rorab.
15:03To add notes, the rorab allows you to tend a little bit more the cord, to make it a bit more aegy or more grave.
15:10And that's what allows you to use the Arabic music.
15:17Are you interested in the Kanun or?
15:20I've already tried it, but...
15:23The Oud, yes, I do the Oud.
15:25Yes, the Oud is the Oud.
15:26There are several instruments, multi-instrumentists. What are the instruments you have to do?
15:31The guitar, the Oud, I also do a bit of bouzouki, mandolin.
15:35There are no cordes pincées.
15:39I think that the instrument is made of cordes for the BNJ.
15:42Yes.
15:43What's your name?
15:45So, I have a woman's quatshore that we saw in the intro.
15:51So, it's Kanun, Ika, the Oud, and the harp.
15:56It's called Shedda Anram.
15:59We just started this year, and we're very happy to share our music.
16:04So, thank you so much.
16:05Thank you so much.
16:06Thank you so much.
16:07Do you have an album solo or with the group?
16:09I'm going to do an album solo, and I'm going to invite people.
16:12I'm going to invite people.
16:13I'm going to invite people.
16:15I'm going to invite people.
16:17And we'll also record a little demo for us, maybe a little EP or some singles from the group.
16:25So, how are you doing the project Shedda Anram?
16:28Yes.
16:29I'm going to invite people.
16:30Yes.
16:31I'm going to invite people.
16:32Oh, of course.
16:33Okay.
16:34I'm going to invite people to participate in festivals.
16:38Because in festivals, it's clear that you can see the Kanun, you can see the harp.
16:42Do you have the opportunity to participate in dates, in scenes, in festivals?
16:48Yes, of course.
16:49It's planned.
16:52We've just started and we're preparing for what we're doing to participate in festivals.
17:03Why do you think the harp is so small?
17:05Why do you think the harp is so small?
17:07Why do you think the harp is so small?
17:09How do you think the harp is so small?
17:10I think three.
17:11Three.
17:12Three?
17:13Yes.
17:14Yes, I think.
17:15Where do you think the harp is so small?
17:17In fact, I'm going to the conservatory.
17:19So, why do you want to learn the harp?
17:21Because the harp is so small in France, it's already complicated.
17:26In fact, when children are young, they don't want to invest in a harp if they don't know if they're going to continue.
17:37Yeah.
17:38So, when they're in the conservatory, they can just go and try.
17:43They don't want to go and leave.
17:44So, it's why there are people who do it.
17:48Do you think the harp is so small?
17:52No.
17:53For the moment, no.
17:55We'll see if it's good.
17:57After the episode, I want to talk about it.
17:59One, maybe, is it artisanal?
18:04Yes, we could.
18:08Why not?
18:09The one I played, the one I played with is a harpist who lives in Ariège, in the south of France, who is a fabricist.
18:17Yes.
18:18At the beginning, she did not do anything.
18:21She did not do anything.
18:22It's possible.
18:23If some of them want to be able to deliver, those Marocans would be great.
18:26And also I teach at the Dandana in Rabat.
18:29Dandana in Rabat?
18:30Yes.
18:31Ok.
18:32What are you doing here?
18:33In the Arp.
18:34In the Arp?
18:35Yes.
18:36In the Arp.
18:37Yes.
18:38It's an advantage.
18:39For those who want to start training,
18:41they can come to training even between the courses.
18:43So there are some who want to try it.
18:45Very good.
18:46How do you do these courses?
18:48Do you learn the Korean language in the music?
18:52Or do you learn the music?
18:53No.
18:54I've learned a lot of things.
18:56For me, the Arabic courses,
18:59the project of coming here to the Maroc,
19:02it's part of my music.
19:04Because the environment musical in the Maroc
19:06m'inspire a lot.
19:07So for me, living here,
19:09it's part of the learning.
19:11So the Arabic courses,
19:13I'll say.
19:14I also learn Andalusif,
19:16the conservatory,
19:17or with groups.
19:19I learn the oud.
19:22And the sang,
19:24also.
19:25I'm still practicing it.
19:27By the time.
19:28What would you think about the Macgrib
19:29this year,
19:32what was the idea of your Macgrib?
19:34Do you think that you're a lot of Macgribs?
19:39Or the Maghreb culture?
19:40Or the Marocan culture?
19:42Can you tell us a little bit about the video of Hanna?
19:45Yes. When I finished my PhD in Musicology,
19:51I was going to...
19:56I was going to work in France,
20:01but I heard a lot of Arabic music,
20:07and also, as a Moroccan who grew abroad,
20:19I was part of this generation of people from the diaspora
20:23who grew far from their origin country.
20:27It was a combination of artistic and personal reasons
20:31that helped me to enter the Maroc.
20:34Dark Dark.
20:36Can you tell us a little bit about Andalusia?
20:40Yes.
20:41A little mix of pieces.
20:43Can you tell us a little bit about Andalusia?
20:46Can you tell us a little bit about Andalusia?
20:53I'm very happy to come back to the Maroc
20:59and to benefit from this musical environment
21:02which is very rich and that we must value.
21:05Very good.
21:06So we've reached the end of the video.
21:07Thank you, Mona.
21:09Let's take a look at us from Dabeshwia,
21:11Hithyamu, Misk.
21:12We're going to take a look at Mona Hilali.
21:14Thank you for the technical and technical.
21:15Thank you very much.
21:18Thank you very much.
21:19We'll be right back to the end of the video.