Ahmed El Bidaoui احمد البيضاوي (born ? - 1991 at Salé) was a Moroccan musician and singer. He was an initiator and representator of modernity in Moroccan music. Experienced in Oud, he composed for many other singers and musicians. He took part in the creation and assumed the direction of the Royal Orchestra of Modern Music. He continues to incarnate the authenticity of the Moroccan song while drawing left the musical experiments coming then from Egypt. His music is played the day following the Independence of Morocco, a time when the Moroccan nationalist feeling takes a place of honor.
It is difficult to find precise traces in the chronology of his life; it is known however that since his childhood, he evolved/moved in the musical environment of his family. Afterwards, he attended school to learn from masters the principles of the modalism and Arabic rhythmic styles.
Ahmed El Bidaoui defined the function of the type-setter who according to him organizes, according to a system which is clean for him and which characterizes musical work, as a succession of sounds. Among the musicians who borrowed the artistic step of the type-setter, one finds, in particular, Eluahou Bohbot who integrates the troop in addition. Abdelkader Rachdi succeeded him as the head the national orchestra of the RTM.
There are several places in Morocco (one in Casablanca) that bear the name of Ahmed El Bidaoui.
His view of the music:
Ahmed El Bidaoui noted:
A type-setter of music is a creative musician of music. It is also said that the written type-setter of the music, whereas this one is not inevitably immediately retranscribed on a partition. Indeed, the word 'type-setter' tends to be employed whatever the kind and the type of music concerned.
It will also say that the concept of type-setter, who "thinks" and the music - for the music "writes" having a system of notation, supposes the existence of an interpreter, who carries out this one. -Ahmed El Bidaoui
Being a complete artist, Ahmed El Bidaoui composed and interpreted indeed almost all of his songs. They are eternal songs by their words, their topics, their music... that the Moroccans know by heart and interpret still today with delight and nostalgia.
Al far'ha al koubra (La grande joie),
Ya Sahiba Essawlati wa Sawlajane,
Nachid Ndaâ El Watan,
Habibi ta âla,
An ser dam'i betess' al leih,
3odta ya khayra imami