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This track represents the folk music of Sa’ed, known for the great variety of instruments used in this joyful call-and-response style music generally heard at celebratory gatherings; the final track exemplifies the more western compositional style of modern popular forms.During the Grateful Dead’s historic 1978 performances in Egypt, percussionist Mickey Hart set time aside to travel with longtime friend Hamza El Din and make field recordings of the country’s richly varied folkloric music. The music of Egypt can be classified into four basic regional styles — the southernmost style of the Aswan area, divided into Arabic-speaking Nubians and a Nubian-speaking sector divided into Mahasi and Mattokki; the style of Luxor, commonly known as Sa’ed; the style of El-Meniya to the Mediterranean Sea, called the Fellahim; and the urban music of such cities as Cairo and Alexandria. Although music existed in prehistoric Egypt, the evidence for it becomes secure only in the historical (or “dynastic” or “pharaonic”) period–after 3100 BCE. Music formed an important part of Egyptian life, and musicians occupied a variety of positions in Egyptian society. Music found its way into many contexts in Egypt: temples, palaces, workshops, farms, battlefields and the tomb. Music was an integral part of religious worship in ancient Egypt, so it is not surprising that there were gods specifically associated with music, such as Hathor and Bes (both were also associated with dance, fertility and

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