She has performed Zakariah Ahmad, Al-Kassabji, Sayyed Darwish, Kamel Al Khal'i, and Muhammad Abdel Wahab, amongst others. Having participated in various concerts in Lebanon and around the world, Khcheich has gained international repute and admiration for her gift at performing complex Arabic classical forms such as Dor 'Emta El hawa', and Muwashah 'Anta al Mudallal'. Currently, Khcheich teaches Oriental singing at the Lebanese National Higher Conservatory of Music and is invited on a yearly basis to Massachusetts, USA, where she teaches voice and classical Arabic singing at Mount Holyoke College under the framework of the Arabic Music Retreat program directed by musician and composer Simon Shaheen. Her professional collaborations include performing with Shaheen, singing on composer Toufic Farroukh's album Tootya released in 2006, and being an integral part of the Dutch-Lebanese- Iraqi band The Orient Express. This band tried to create meeting grounds between the Arab musical heritage and Jazz. The band released one album, Orient Express, in 2002. In 2006, Khsheish released her debut solo album, Yalalalli, which features a number of old songs and Muwashahat that she performs in a personalised, contemporary manner, alongside new compositions. * Muwashahat: plural of Muwashshah, a vocal form in Arabic music. A strophic song with refrain. The form originated at Cabra, near Cordoba, in the 9th century; it enjoyed a vogue in Muslim Spain in the 11th century, and spread subsequently throughout the Arab world, where it survives in oral tradition. One of seven post-Classical poetic forms, It is performed on both secular and religious occasions and combines classical metres with new ones arranged in strophes.
Each poem is divided into an indefinite number of units (abyat, sing. bayt), each containing a varied number of poetic lines. Musically, a muwashshah is performed by a solo singer alternating with responsorial, antiphonal or collective singing in unison, depending on the performing group. The performance of this difficult art, composed by specialists, demands a mastery of both maqams (modes) and usuls, the complicated rythmic patterns of Arabic music.
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