غاليريتا | سانت ليفانت وتووليت والشامي.. سر الصعود والسيطرة
سانت ليفانت، وتووليت، والشامي.. ثلاثة فنانين دخلوا المشهد الموسيقي العربي من بوابة المنصات الرقمية، وقدموا أنماطاً موسيقية وصوراً فنية مختلفة.لكن لماذا تتكرر عبارة "هذا ليس غناءً" كلما ظهر جيل جديد؟ وكيف تغيّرت طرق صناعة الأغنية العربية وانتشارها، من الكاسيت والإذاعة إلى المنصات والخوارزميات؟
من يحدد ما يُسمّى أغنية؟ ولماذا تتحول بعض الأغاني التي نرفضها اليوم إلى جزء من ذاكرتنا الموسيقية؟ شاهدوا الحلقة ولا تنسوا الاشتراك في القناة.
مصادر #غاليريتا:
https://www.sup.org/books/middle-east-studies/media-masses
https://www.cambridge.org/core/journals/popular-music/article/abs/new-nightingales-of-the-nile-popular-music-in-egypt-since-the-1970s1/A54A596F0D377256B187C8F6A610D371
https://mes.dartmouth.edu/news/2025/02/making-and-mourning-ahmad-adawiya-musical-legend-professor-andrew-simons-article
https://newlinesmag.com/essays/the-making-and-mourning-of-ahmad-adawiya-a-musical-legend/
https://www.guinnessworldrecords.com/world-records/771463-youngest-artist-to-reach-no-1-on-a-billboard-arabic-chart
https://www.cambridge.org/core/journals/yearbook-for-traditional-music/article/abs/hearing-cosmopolitan-nationalism-in-the-work-of-fairuz-and-the-rahbani-brothers/2F0A4B20BCBA8EE8EB6FB093013D7D2A
https://soas-repository.worktribe.com/output/382693/fairuz-as-a-national-symbol-popular-music-folklore-and-nationhood-in-1960s-lebanon
https://www.semanticscholar.org/paper/Popular-Culture-and-Nationalism-in-Lebanon%3A-The-and-Stone/ee423bd45b4bb8c7f9c2ae400b70a4b8b6b598d4
https://www.youtube.com/watch?v=xS4bz7bkZ0A&t=20s&pp=ygVa2YXZgtin2KjZhNipINi32KfYsdmCINin2YTYtNmG2KfZiNmKINmF2Lkg2YXZhtmJINin2YTYtNin2LDZhNmKINin2YTYs9itINin2YTYr9itINin2YXYqNmI
https://www.youtube.com/watch?v=Fg9kVjnmftI&t=3771s&pp=ygVB2YXZgtin2KjZhNipINiy2YrYp9ivINin2YTYsdit2KjYp9mG2Yog2YXYuSDZhdmG2Ykg2KfZhNi02KfYsNmE2Yo%3D
https://bbarabia.com/wwhsn
https://bbarabia.com/cmms9
https://bbarabia.com/89a67
كن جزءاً من مجتمعنا https://goo.gl/sCG87B
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