Grands maîtres du Malûf constantinois
Mohamed Tahar REGGANI (dit : Mohamed Tahar FERGANI, né en 1928)
Born in Constantine in 1928, the son of Hall Fergani. He first learned the Egyptian Oriental music which he discovers through film and is accompanied, on occasion, to the flute. Mohamed Tahar Fergani integrates modern and Oriental music troupe led by the musician Missoum he follows in his tours and stays as such, nearly a year in Algiers. It is supported, on his return to Constantine, first by Mohamed Derdour, founder of the association the bird of dawn, then if Hassouna ALI KHODJA and especially baba ' Abeid KARA BAGHLI. Her vocal qualities, his faculties of assimilation and technical skills - he masters various instruments - impose it, very fast, Constantine music scene. Found at the end of the 1940s and in the early 1950s, around Mohamed Tahar the best established of the constantinois musical field - Zhang Fergani, players me amar Benrachi, k Darsouni, Baba ' Abeid, in particular. In the early 1950s, he recorded his first records under the rule of Mohamed Derdour under the name of Derephone. The impact of his records among the Muslim community's keeping as a possible alternative to the Magisterium by Raymond Leyris.
The period of the war paradoxically confirms the popularity and Fergani influence including the relative downturn on a craft - embroidery - does not limit its participation to weddings and radio emissions. Independence the voices occupy a hegemonic position in the musical field, position it will establish first at the level of the market, by creating his production company and ensuring the dissemination of records directly. He filled from this period a representative function and participates in December 1964 at the first meeting devoted to music under the aegis of the FLN to EL Riadh (Algiers). Through radio, television and concerts, Mohamed Tahar Fergani undertake to broaden his audience at the national level. It organizes tours throughout the national territory and introduced into his repertoire of pieces of Secretary, Tlemcenienne tradition and Moroccan. The sixties will devote him as artist of national and it is, therefore, associated with the manifestations of representation of the Algerian culture abroad. On the local level, Fergani influence deeply marks the young generations and his recordings offset largely the disappearance of the fnadeq and the limits of the municipal Conservatory. A style and a Fergani system are being implemented: imitation and allegiance become modes of integration in the musical field. This translates, among other things, the rise of a generation of carriers of violin at the expense of the lute. Directly or indirectly, the Constantine musical field structure compared to the personality and the multiple influences of Fergani amplifies the earlier negotiated turn of the disk to the tape. Fergani took part in all - national, international festivals - events that are taking place around the music. Central figure in cultural professionalism, sound borrows in music remains up to then unprecedented.
Biography by Prof. Abdelmadjid Marshall, extracted from his book "Dictionary of the urban music of Constantine", editions of the free fields.