The Iraqi Maqam Ensemble, is founded in 1989 in Baghdad by Mohammad H. Gomar. This ensemble is a continuation of The Iraqi Musical Heritage Group which was initiated In 1973 by the prominent Lute player Professor, Munir Bashir(1930-1997). The ensemble members had graduated at the Institute of Musical Studies and the Academy of Art Baghdad University. The assembly of the Maqam group and their traditional Instruments that they use, called (Chalghi Al-Baghdad(). are Usually.

FARIDA MOHAMMAD ALI

Born in 1963 in kerbala, Iraq. Art Diploma from Musical Studies Institute 1990. Member of Iraqi Musical Heritage Group 1986-1989. Member of Iraqi Artists Union 1987 . She has estabilshed a reputation throughout the Arab world for her brilliant performances of the classical Maqam, aform of Arab art music traditionally sung by men. her powerful voice and her extensive training in the Iraqi and Arab maqam have enabled her to perform some of the most challenging magam of Arab music She studied with Munir Bashir, the late Iraqi Ud (lute) Master, who encouraged her to perform classical Iraqi Maqam despite the traditional barrier to women. She has also studied with sha ubi lbrahim, Hussein Al-Athami and Mohammad Gomar. She graduated from the Institute of music in Baghdad,Became the first women teacher of classical Iraqi Maqam, and currently specialized in twenty Maqam. She has participated in International festivals in: Moscow, Uzbekistar4 Kuwait; Jordan, Tunis, Algeria, Marocco, Lebanon Holland, Belgium, England, Germany, Sweden, France Her current American tour marks the first time that an Iraqi women is performing classical Arabic music in the United States of America.

Her CD(Mawal & Maqamat) p&s by New Samarkand is chosen as (Top of the World) by the International Music Magazine(SongLines) published in London in October2000. Farida has one of the most distinguished female voice Nowadays especiallyin Iraqi song, and she stands in the formost position.

MOHAMMAD H. GOMAR LEADER OF IRAQI MAQAM ENSEMBLE

Born in 1959 in Diala, Iraq. Jozza & violin player. Art Diploma from Iraqi Institute of Melodic Studies 1981. B.A. Musicologe from Art Academy, Baghdad University 1992 *Member of Iraqi Musical Heritage Group since] 976 . *Member of Iraqi Musician Association 1976 . Member of Iraqi Artists Union 1983. Musician and Composer in Iraqi T. V 1984. Head of Department of Musical Instrument and song in Musical Studies Institute also teacher Theortical & Analysis Playing and Assembly Singing in Iraqi Musical Studies Institute and Fine Art Academy. Obtained Aril city Medal in France 1977. *Obtained the best musical melody at the Iraqi puplic festival 1986. Member of Ensemble Al Kindi With Julien Jalal Eddine Weiss.

The Iraqi Maqam Ensemble was reestablished in 1989 under the direction of instrumentalist, and composer Mohammad Gomar, to continue its mission to preserve and develop Arab classical music in Iraq. Wesam A. Ibrahim Alazzawy Born in 1960 in Diala, Iraq. Santur & Tabla player. Art Diploma from Iraqi Musical Studies Institute 1985. Member of Iraqi Musical Heritage Group 1980. He is one of the best player on A1 Santur Instrument in Iraq. Also he was teaching in the Musical Institute since 1985-1997.

Jamil M. Al-Asadi, born in 1969 in Baghdad, Iraq: qanun & violin player. Art Diploma from Musical Studies Institute 1990. BA Musicologe from Art Academy, Baghdad 1996.

Azad O. Mohammed, born in 1967 in Baghdad, Iraq. Nay player. Art Diploma from Iraqi Musical Institute 1991.

Abdullatlf Sand Al-Obaidi, born in 1981 in Baghdad, Iraq. Ud & all percussion Instrument player. He is one of the best players on the all Iraqi percussion Instruments and also he participated in many festivals With Iraqi Maqam Ensemble.

IRAQI MAQAM ENSEMBLE

Maqam is one of the genres of singing in Iraq. Because of the fact that it has its own standard inherited rules it can be considered as a traditional and classical music. Maqams are performed mainly and widely in the Iraqi cities of Baghdad Mosul and Kerkuk-It is however, practiced in limited venues in the cities of Kerbala, Hilla and Diyala as well.A is in Baghdad that the Iraqi maqam is widely performed. Baghdad witnesses also its origins and its development across generations. Artistically interpreted, maqam is a distinguished mode along the course of Iraqi music and singing it is based on two main factors; that of sound(melody)and the time(rhythm). Usually, the maqam singer is called Qaari (lit. reader). this is because Originally maqam is categorized within the Sofistic and religious music. The maqam singer is expected to apply the standard rules of maqam. Surely, he or she is also expected to integrate his own improvisation in the maqams system of standard style to reflect his or her own particular style and character as a singer. Therefore, individual differences in Performance are deliberately aimed at.

There are five standard principles for maqam: I. Tahriir (or the Beginning Of maqam),2. Qita l Awsaal (parts and pieces within), 3. Jalsa (suite), 4. Mayanaat S. Tasliim (the end or conclusion). The maqam singer is usually accompanied by a small group of musicians. The group is called(Al-Chaalghi Al-baghdadi). The word chaalghi is of a Turkish origin. Because Baghdad is where the main origin of the Iraqi maqam is traced this group is named after it. The group consists of Performers using traditional musical Instruntents. These instruments are. The djooza(aspiked four string fiddle), the santur (a either brought to sound through sticks), the tabla(vase drum with two open sides of which one side is covered by the drum skin). the riqq (a tambourine) and occasionally, the naqqara (metal shells beaten by metal sticks). The players of the group are expected to be fully acquainted with the minute technicalities of each instrument they play and how it suits the required performance of maqamat and pestehs. In addition they are supposed to have skilled voices and eloquent performance. this is because their role is not confined to the playing of the instruments only but is extended to the singing of the pesteh (the popular song) with i s sung at the end of each maqam, this pesteh gives the maqam singer some time to rest and be prepared for the following one. the texts recited in each maqam differ from one magam to another. There are maqamat that are performed in classical Arabic poetry, while others in the Iraqi vernacular known as Zuheeri Mosabba seven Zuheeri).In addition, there are some magams that are performed while accompanied with some Iraqi rhythms from the beginning to the end, while others are without these. It is worthwhile saying that there are more than 50 Iraqi magams till recently, Maqam has been performed inthe following venues and occasions: The Mawlid The feast celebrating the birth of the prophet Mohammed in coffeehouses and In Zurkhane which is a Soft-related sport school.

DISCOGRAPHY

Farida CDs: produced by New Samarkand Records.
I- (Classical Music of Iraq) 1998.
2- (Mawal & Maqamat) 2000.

THE ARTISTS

Farida Mohammad AN Abbas : Maqam singer
Mohammad H, Gomar Al-Bawi Jozza : leader of ensemble Wesam A. Ibrahim Alazzawy, Santur Jamil M. Al Asadi, Qanun Azad Omar Mohammed, Nay Abdullatif S. Al-Obaidi, Tabla & Ud Ehab W. ALAzzawy : Riqq.