During her years of study, Ghada Shbeir devoted herself to the research of Traditional Oriental Middle Eastern music and religious chants.
Brief categorical definitions from the artist

AlKasida
 AlKasida (literally a classical Arabic poem) is a song whose text is written in classical Arabic. It is performed by a solo vocalist accompanied by a takht (A small instumental group of traditional instruments, usually a oud, a qanun, a nay, a riq "Duff", and recently a violin).
 AlKasida is composed to a simple rhythmic mode, or iqaa, usually wahdah. The subject of the lyrics is most often love, but could also be patriotism, death, or other themes.

AlMawwal
 Improvised vocals used in Egyptian "shaabi" music, the toast of Cairo's working class neighborhoods. AlMawwal lets the singer show off storytelling abilities and street smarts.
 AlMawwal is a non-metric vocal improvisation on a colloquial poetry text of 4 to 7 lines. It can be sung with an instrumental accompaniment (usually a qanun or oud) or without, and is used as a means to demonstrate the singer's virtuosity.
 The singer has complete freedom to modulate to different maqamat. During a Mawwal the accompanying musicians follow the singer's lead, and summarize each phrase after the singer has performed it (called tarjama, literally translation). AlMawwal is often preceded by a doulab or a short taqsim to introduce the maqam.

The Arabic Traditional Andalusian
 Known by AlMuwashshah in Spain, the Arabic Traditional Andalusian music style appeared in Andalusia in the beginning of the 11th century. It was called AlMuwashshah for 2 major reasons:
 1) It does not follow the Khalilian measure (16 measures)
 2) It uses the various musical rhythm which were considered the fundamental elements of the melody structure, such as the Medawar, the Aqsaq, the Muraba', the Nawakht and others…

 AlMuwashshah is based on different modes. The words are a mixture of spoken and classical Arabic. AlMuwashshah is divided into three segments: The Dawr, the Khana, the Ghata or the Qafla.

 In general, AlMuwashshah is accompanied by the Takht Sharqi that is made of a group of old oriental Middle Eastern instruments: the lute (Al'Oud), the zither (AlQanoun), the tambourine (AlDuf), and the flute (AlNay).

 These instruments play an accompanying role in AlMuwashshah and are given free rein for improvisation and creation, but respect the initial and traditional form of the given piece.

AlDawr
 AlDawr is a vocal genre sung in colloquial or regional Arabic ('ammiyyah), and was developed in 19th century Egypt. It includes 2 sections, madh'hab (chorus, or refrain) and ghusn (branch, or verse), the latter being characterized by choral responses to the soloist's ornamented improvisation on the syllable "ah". Only simple rhythmic modes are used in the dawr.
 AlDawr usually starts with a doulab (an introductory short instrumental composition) that sets the mood of a maqam, and is intended to reveal its special character such as its intervallic structure and the emotions attached to it.

The Syriac Chant
 The Syriac chant is deeply rooted in the civilizations of the Near East before Christianity. It is simple and austere and was transmitted orally, as no annotations existed. The same words can have several melodies and the same melody can have different words.

 The independent strophic Syriac Hymn is attributed to Saint Ephrem Syrus (306-373), the Syrian Saint, Doctor of the Church and hymnographer. Born in Edessa, Saint Ephrem countered the hymns of Bardaisan (154-222), a Syrian hymnographer astrologer philosopher from Edessa.

 The Syriac melody has limited range. It is performed with 3, 4, or 5 notes. It has a free varied rhythm and a simple structure. Singing it professionally means singing it with free rhythm by improvising, without altering the structure of the melody.

 To be sung correctly, this unique melody requires technical excellence and deep passion for the music. In style, the Syriac chant does not belong to the Arabic music system, nor the eight Byzantine types, not the Gregorian, but is a special pleasure to be enjoyed in its own rite.

 Usually it is sung a capella and sometimes it is accompanied by percussion instruments: The naqus (hand bell), the marwaha (rattle) and the small and large Cymbals.