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Swallow Hill Music Concert Report

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Words 1971
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Driving to west from my address to Swallow Hill Music Center for 40 minutes one way at the evening was my first-time experience to the music concert in my life. I was a bit nervous when I arrived the place, but thanks to the receptionists at the front desk for warm welcoming and guidance. I took a middle row sit at the center of the hall and everything at the hall was a very nice, a well decorated light, attractive arts on the wall on the all the corners, the stage with five empty sits each with a microphone and a music stand at its front. Watching the performance and at the same time taking a note for my paper was also the only to do list for me.
When time arrives, A young lady arrived a stage with a piece of paper and made a brief announcement about the concert and what they do, other notice like no photo graphs and others. Then Marrakech Express band arrived the stage with a full band instruments and after gaining the stage and awaiting the crowd’s silence, Samir El Yesfi begins picking the ‘ûd or lute which is what is called guitar in West accompanied by violin by Sandra Wong, Darbûka, the Moroccan bendir by Brett Bowen, and clarinet by Dexter Payne. After playing music for while Samir started singing “lama bada yatathana” which later I found on a YouTube being …show more content…
It is a music space that links morocco to both a sub-Saharan African nation and a part of the Arab world. Gnawa music has two different generation of the Moroccan musicians links the musical production of Morocco to sub- Saharan Africa, which reflects the dynamics at play in the country’s overall cultural identity and its ambiguous position between Africa and the Middle East. The two generations include the new generation of musicians and Nass El Ghiwane, who has received a little scholarly attention outside of Morocco, considering the enormous impact they have had on the musical landscape not only of

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