“Authors and Composers” Association Addresses the “Ala Rawd El Habib” Controversy
The “Authors and Composers” Association has commented on the ongoing debate surrounding the song “Ala Rawd El Habib,” following Assala Nasri’s performance of the song during her recent concert in Damascus.
The discussion intensified after questions were raised about the song’s melody and its similarity to music by legendary Egyptian composer Sayed Darwish.
In a statement, the association said that its music specialists had examined the song and concluded, according to the statement, that the issue goes beyond a passing resemblance between two melodies.
The specialists said they found a clear match in the basic melodic structure with Sayed Darwish’s “Zorouni Kol Sana Marra,” while noting that the version in question contains some modifications and variations in its musical phrasing.
🎶 The Debate Followed Assala’s Damascus Concert
The association’s response came after the controversy surrounding “Ala Rawd El Habib” grew following Assala’s performance of the song on stage in Damascus.
According to the association’s statement, the melody had previously been performed by several singers, including Syrian artists.
The statement also noted that the melody had been attributed differently at various times, with some accounts linking it to contemporary composers while other accounts describing it as part of Syrian heritage.
The association said that these differing accounts make it important to examine the origins of the melody carefully before assigning it to a specific heritage or location.
🇸🇾 Is the Melody Part of Syrian Heritage?
The association referred to claims that the melody of “Ala Rawd El Habib” belongs to Syrian heritage, specifically the city of Latakia.
However, it questioned the basis on which that attribution was made, pointing out that several conflicting accounts exist regarding the origin of the same melody.
In its statement, the association emphasized the importance of verifying information related to the source and attribution of musical works, particularly when different versions of their origins are being circulated.
⚠️ The Association Says Assala’s Statement Carries “Professional Responsibility”
The association also addressed Assala’s statement describing the melody as part of Syrian heritage.
According to its statement, making such an attribution places “professional responsibility” on the singer to ensure that the information has been properly verified before presenting it to the public.
At the same time, the association stressed that its discussion of the issue does not target Assala’s performance of the song.
It explained that the melody had already been performed by several artists and that the main issue under discussion concerns the source and attribution of the melody itself.
🎼 “Ala Rawd El Habib” and “Zorouni Kol Sana Marra”
According to the musical analysis presented by the “Authors and Composers” Association, the comparison between “Ala Rawd El Habib” and “Zorouni Kol Sana Marra” goes beyond limited points of similarity.
The association said its specialists identified a clear correspondence in the songs’ basic melodic structure.
It also acknowledged the presence of modifications and variations in the musical phrasing, while maintaining that the underlying melodic structure closely matches Sayed Darwish’s composition, according to the association’s statement.
❤️ Assala and a Debate Over Musical Heritage
Assala’s performance of “Ala Rawd El Habib” in Damascus has therefore become the latest trigger for a wider discussion about the attribution of melodies that are presented as traditional works.
The association focused on the importance of verifying the origins of musical material before making definitive claims about its source, while making clear that its position is based on the musical analysis conducted by its specialists.
Ultimately, the debate over “Ala Rawd El Habib” remains between the account linking the melody to Syrian heritage and the musical analysis presented by the “Authors and Composers” Association, which connects its basic melodic structure to Sayed Darwish’s “Zorouni Kol Sana Marra,” while acknowledging modifications and variations in the phrasing.
What do you think of the debate over the origin of “Ala Rawd El Habib”? Do you think documenting the sources of traditional melodies is important for resolving disputes like this? 🎶💬
