Art Music of the Midtwentieth Century Umm Kulthã…â«m and the Longsong Tradition Music in Egypt

Musical culture of Arab republic of egypt

Lute and double piping players, and female dancers from a landscape found in the Theban tomb of Nebamun, a nobleman of the 18th Dynasty of the New Kingdom, c. 1350 BC

Music has been an integral part of Egyptian culture since antiquity in Egypt. Egyptian music had a meaning impact on the development of ancient Greek music, and via the Greeks it was important to early European music well into the Middle Ages. Due to the thousands of years long dominance of Arab republic of egypt over its neighbors, Egyptian culture, including music and musical instruments, was very influential in the surrounding regions; for instance, the instruments claimed in the Bible to have been played by the aboriginal Hebrews are all Egyptian instruments as established past Egyptian archeology. Egyptian modern music is considered as a master core of Middle Eastern and Oriental music equally it has a huge influence on the region due to the popularity and huge influence of Egyptian cinema and music industries, attributable to the political influence Arab republic of egypt has on its neighboring countries, besides as Arab republic of egypt producing the well-nigh achieved musicians and composers in the region, especially in the 20th century, a lot of them are of international stature.^[one] The tonal structure music in the East is defined past the maqamat, loosely like to the Western modes, while the rhythm in the East is governed past the iqa'at, standard rhythmic modes formed past combinations of absolute and unaccented beats and rests.

History [edit]

The ancient Egyptians credited the goddess Bat with the invention of music. The cult of Bat was eventually syncretised into that of Hathor because both were depicted equally cows. Hathor's music was believed to accept been used by Osiris equally part of his effort to civilise the earth. The king of beasts-goddess Bastet was also considered a goddess of music in aboriginal Egypt.

Neolithic menses [edit]

In prehistoric Egypt, music and chanting were unremarkably used in magic and rituals. Rhythms during this time were unvaried and music served to create rhythm. Modest shells were used as whistles.^{[2] : 26–xxx}

Predynastic period [edit]

During the predynastic flow of Egyptian history, funerary chants continued to play an of import function in Egyptian religion and were accompanied by clappers or a flute. Despite the lack of physical testify in some cases, Egyptologists theorise that the development of certain instruments known of the Former Kingdom flow, such as the terminate-blown flute, took place during this time.^{[2] : 33–34}

Old Kingdom [edit]

The evidence for instruments played is more deeply attested in the Old Kingdom when harps, flutes and double clarinets were played.^{[ citation needed ]} Percussion instruments and lutes were added to orchestras by the Middle Kingdom. Cymbals often accompanied music and dance, much as they nonetheless do in Egypt today.

Medieval music [edit]

Early Middle Eastern music was influenced past Byzantine and Roman forms, which were themselves heavily influenced past before Greek, Semitic, and Ancient Egyptian music.

Egyptians in Medieval Cairo believed that music exercised "too powerful an result upon the passions, and leading men into gaiety, dissipation and vice." However, Egyptians generally were very fond of music. Though, according to E.Westward. Lane, no "human being of sense" would e'er become a musician, music was a key part of social club. Tradesmen of every occupation used music during work and schools taught the Quran by chanting.^{[three] : 359}

The music of Medieval Egypt was derived from Ancient Egyptian and Byzantine traditions. Lane said that "the most remarkable peculiarity of the Arabic system of music is the sectionalisation of tones into thirds," although today Western musicologists prefer to say that Standard arabic music'due south tones are divided into quarters. The songs of this period were similar in audio and simple, within a pocket-sized range of tones. Egyptian vocal, though simple in form, is embellished by the vocaliser. Distinct enunciation and a quavering voice are besides characteristics of Egyptian singing.^{[3] : 360–361}

Male professional musicians during this period were called Alateeyeh (plural), or Alatee (singular), which ways "a actor upon an instrument". Yet, this name applies to both vocalists as well as instrumentalists. This position was considered disreputable and lowly. Withal, musicians plant piece of work singing or playing at parties to entertain the company. They more often than not fabricated three shillings a night, only earned more by the guests' givings.

Female person professional musicians were called Awalim (pl) or Al'meh, which means a learned female person. These singers were often hired on the occasion of a celebration in the harem of a wealthy person. They were not with the harem, just in an elevated room that was concealed by a screen then as non to exist seen past either the harem or the principal of the house. The female Awalim were more highly paid than male performers and more highly regarded than the Alateeyeh as well. Lane relates an example of a female performer who so enraptured her audience that she earned up to fifty guineas for one night's performance from the guests and host, themselves not considered wealthy.

Modernistic Egyptian classical and pop music [edit]

In the second half of the 19th century, the Egyptian folk street music ring Hasaballah, a genre of pop improvisational contumely band folk music emerged, initiated by clarinettist Mohamed Hasaballah and his band based on the traditional music of the Egyptians, and is shortly called Hasaballah, a band playing in Cairo'southward music and entertainment quarter on Mohammed Ali Street. The typical line-up of trumpet, trombone, bass and snare drums, was popular, such as at family events, for well over a century, and is still played.^{[iv] [5]}

Egyptian music began to be recorded as early equally in the 1910s. The Egyptians have always expressed themselves and daily lives and even struggles with their music and traditional folk music. Past the 1930s, Arab republic of egypt's classical musical tradition was already thriving, centered on the city of Cairo. In general, mod Egyptian music blends its rich ethnic traditions, with some western elements that helped create Egyptian pop music.

Since the end of World War I, some of the Centre East's biggest musical stars have been Egyptian. Contemporary classical Egyptian music traces its beginnings to the creative work of traditiondal classical Egyptian musicians Abdu El Hamouly, Almaz, and Mahmud Osman, likewise every bit the after work of the 20th century's near important Egyptian composers and singers, like Sayed Darwish, Umm Kulthum, Mohammed Abdel Wahab, Abdel Halim Hafez, and Baligh Hamdy. Most of these stars, including Umm Kulthum, [[Abdel Halim Hafez|Abdel Halim], Fawzi and many others were office of the traditional Egyptian music. Some, similar Abd el-Halim Hafez, were associated with the Egyptian nationalist move from 1952 onward.^{[ citation needed ]}

Cairo-born Fatma Said was the beginning Egyptian soprano to sing at the Teatro alla Scala, Milan,^[six] and from 2016-2018 took part in BBC Radio 3 New Generation Artists scheme.^[7]

Western classical music [edit]

Western classical music was introduced to Egypt, and, in the middle of the 18th century, instruments such as the piano and violin were gradually adopted by Egyptians. Opera also became increasingly popular during the 18th century, and Giuseppe Verdi's Egyptian-themed Aida was premiered in Cairo on December 24, 1871.

By the early 20th century, the first generation of Egyptian composers, including Yusef Greiss, Abu Bakr Khairat, and Hasan Rashid, began writing for Western instruments. The 2nd generation of Egyptian composers included notable artists such equally Gamal Abdelrahim. Representative composers of the tertiary generation are Ahmed El-Saedi and Rageh Daoud. In the early on 21st century, fifty-fifty 4th generation composers such as Mohamed Abdelwahab Abdelfattah (of the Cairo Solarium) have gained international attention.

Religious music in Egypt [edit]

Religious music remains an essential part of traditional Sufi Muslim and Coptic Christian celebrations called mulids. Mulids are held in Egypt to celebrate the saint of a item church building or an exalted local Muslim effigy. Muslim mulids are related to the Sufi zikr ritual. The Egyptian flute, called the ney, is ordinarily played at mulids. The liturgical music of the Alexandrian Rite also constitutes an important chemical element of Egyptian music and is said to have preserved many features of aboriginal Egyptian music.

Folkloric music [edit]

Egyptian folk music, including the traditional Sufi dhikr rituals in Egypt, are the closest contemporary music genre to ancient Egyptian music, having preserved many of its features, rhythms, and instruments.^{[8] [nine]}

Folk and roots revival [edit]

The 20th century has seen Cairo go associated with a roots revival. Musicians from across Egypt are keeping folk traditions alive, such equally those of rural Egyptians (fellahin), the Saii'da, and to a lesser extent minorities like the Siwa people, the Egyptian Romani, the Sinawis and the Nubians. Mixtures of folk and pop accept as well risen from the Cairo striking factory.

Since the Nasser era, Egyptian pop music has get increasingly important in Egyptian civilization, specially amidst the big youth population of Egypt. Egyptian folk music continues to exist played during weddings and other traditional festivities. In the concluding quarter of the 20th century, Egyptian music was a way to communicate social and form issues. Among some of the nigh popular Egyptian pop singers today are Sherine Abdel-Wahab, Mohamed Mounir, and Amr Diab.

Sawahli (coastal) music is a type of pop Egyptian music from the country's northern coast, and is based around ancient Egyptian instrumentals, mainly the simsimiyya, which is an indigenous Egyptian stringed instrument that has its roots in ancient Egypt, it---the simsimiyya---was probably introduced to the country's northern coast from the Nile valley in the 19th century by Egyptian workers in the Suez Canal. Well known Egyptian bands that feature the simsimiyya every bit a chief instrument include el-Tanboura, which uses other aboriginal Egyptian instruments.

Saidi (Upper Egyptian) [edit]

Egyptian musicians from Upper Arab republic of egypt play a form of folk music called Ṣa'īdi which originates from Upper Arab republic of egypt. Metqal Qenawi's Les Musiciens du Nil (Musicians of the Nile; who became known to Alain Weber in 1975), are the nearly pop Sa'īdi group, and were chosen by the government to represent Egyptian folk music abroad. They spent over three decades touring Europe performing at diverse festivals and musical events and in 1983 after their performance in the Earth of Music and Dance Festival, they were signed to Peter Gabriel'southward label Real Earth-Carolina and went on to feature on his Album Passion. Other performers include Shoukoukou, Ahmad Ismail, Omar Gharzawi, Sohar Magdy and Ahmed Megahid.

Nubian [edit]

In Arab republic of egypt, Nubians are native to southern part of Aswan, though some live in Cairo, Alexandria and other cities. Nubian folk music can still be heard, merely migration and intercultural contact with Egyptian and other musical genres have produced new innovations. Ali Hassan Kuban'south efforts had made him a regular on the world music scene, while Mohamed Mounir'due south social criticism and sophisticated pop have made him a star among Nubians, Egyptians, and other people worldwide. Ahmed Mounib, Mohamed Mounir'due south mentor, was by far the most notable Nubian vocalizer to hitting the Egyptian music scene, singing in both Egyptian Arabic as well as in his native Nobiin. Hamza El Din was some other popular Nubian Egyptian artist, well known on the world music scene and has collaborated with the Kronos Quartet.

Egyptian musical instruments [edit]

A typical early 20th century Egyptian ensemble comprising the Oud, qanun, violin, ney, and cello.

Many of the modern day instruments, both in the East and the West, trace their roots dorsum to ancient Egypt, and many ancient Egyptian instruments are still used in Egypt today, such as the darbuka, the simsimiyya, the Egyptian ney, among other instruments.

During the Abbasid and Ottoman dynasty Egypt was one of the main musical hubs in the middle east and therefore subsequently the autumn of the Ottoman Empire in 1923 Egypt became the uppercase of music in the Arabic-speaking earth where classical instruments such equally the oud, qanun, and ney were widely used. The typical takht (ensemble) consisted of an Oud player, qanun player, ney actor and violin player. The takht (literally meaning a sofa) was the nigh mutual form of ensembles in the early on 20th century earlier the adoption of more than orchestral instruments which were introduced by composers such as Mohamed El Qasabgi, Riad El Sunbati and Mohammed Abdel Wahab.

Electronic music [edit]

One of the virtually respected early electronic music composers, Halim El-Dabh, is an Egyptian. Active at the same time, or perchance earlier than, the French electronic pioneers from the Studio d'Essai, he is one of, if non the, earliest composer of purely electronic music. In 1944 he composed the primeval known piece of work of record music, or musique concrète, called The Expression of Zar, which he composed in Egypt, while still a student in Cairo, by capturing sounds from the streets of Egypt on a wire recorder.

The Egyptian electronic music scene has gained a mainstream foothold in the forms of techno, trance, and trip the light fantastic pop DJs such as Aly & Fila. In the 2010s, Mahraganat music, an Egyptian form of electronic music which often contains political lyrics, gained popularity both inside and exterior Arab republic of egypt.^[10]

Reconstruction of aboriginal Egyptian music [edit]

In the 20th and early 21st centuries, interest in the music of the pharaonic/ancient Egyptian period began to grow, inspired by the research of such foreign-born musicologists as Hans Hickmann, who lived and worked in Arab republic of egypt. Past the early 21st century, Egyptian musicians and musicologists led past the Egyptian musicology professor Khairy el-Malt at Helwan University in Cairo had begun to reconstruct musical instruments of ancient Egypt, a project that is ongoing.^[xi]

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  Broken Egyptian Sistrum

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  Egyptian Sistrum

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  Collection of sistrums at the Louvre

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  Ancient Egyptian Long Flute

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  Ancient Egyptian Stringed Instruments

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  Ancient Egyptian With TwoSided Pulsate

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  Aboriginal Egyptian Music Band

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  Late Style Egyptian Lyre

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  Aboriginal Egyptian Woman Playing Drum

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  Egyptian Lyre

See also [edit]

• Egyptian contemporary fine art

Notes and references [edit]

1. ^ Asante, Molefi Kete (2002). Civilisation and Community of Arab republic of egypt. Greenwood Publishing Group. p. 117&153. ISBN 978-0-313-31740-8.
2. ^ ^{a b} Pérez-Arroyo, Rafael (2003). Egypt: Music in the Age of the Pyramids (1st ed.). Madrid: Centro de Estudios Egipcios. p. 28. ISBN8493279617.
3. ^ ^{a b} Lane, Edward William (2003). An Account of the Manners and Customs of the Modern Egyptians: The Definitive 1860 Edition. Cairo: American University in Cairo Printing. ISBN9789774247842.
4. ^ Arab republic of egypt: Hasaballah, the People's Music, Al Jazeera, 22 Nov 2017
5. ^ Hasaballah Music: The Past and The Nowadays Archived 2017-01-08 at the Wayback Auto, The Community Times, 24 May 2016
6. ^ "Fatma Said". The American University in Cairo . Retrieved x May 2020.
7. ^ "Fatma Said Biography (BBC)". BBC . Retrieved 10 May 2020.
8. ^ Hickmann, Hans (1957). "Un Zikr Dans le Mastaba de Debhen, Guizah (IVeme Dynastie)". Journal of the International Folk Music Council. ix: 59–62. doi:10.2307/834982.
9. ^ Hickmann, Hans (January 1960). "Rythme, mètre et mesure de la musique instrumentale et vocale des anciens Egyptiens". Acta Musicologica. 32 (1): 11–22. doi:10.2307/931818.
10. ^ "Six Explosive Tracks that Ascertain Mahraganat, Egypt's Wildly Popular Street Music". Thump . Retrieved 2017-05-23 .
11. ^ Ancient Egyptian Music Symposium

Further reading [edit]

• Society, David and Bill Badley. "Partner of Poetry". 2000. In Duane, Orla; McConnachie, James (2000). Broughton, Simon; Ellingham, Mark (eds.). World Music, Vol. 1: Africa, Europe and the Middle East. London: Rough Guides. pp. 323–31. ISBN1-85828-636-0.
• Marcus, Scott L. (2007). Music in Egypt. New York: Oxford University Printing. ISBN0-19-514645-X.
• Journal of the History of Ideas , Oct 2014, Vol. 75, No. 4 (October 2014), pp.545-580
• Peterson, Jennifer and Karin van Nieuwkerk. Playing with spirituality: the adoption of mulid motifs in Egyptian dance music Contemporary Islam, 2008, 2(3), 271-295.
• Rehding, Alexander. "Music-Historical Egyptomania, 1650-1950." Periodical of the History of Ideas 75.4 (2014): 545-80.

External links [edit]

• Audio clips: Traditional music of Arab republic of egypt. Musée d'ethnographie de Genève. Accessed Nov 25, 2010. (in French)
• Egyptian music and dance Books
• Ghostly Echoes: an essay on Egypt and its contemporary music! An essay on Egypt and its gimmicky music- drummers of the nile
• Church Hymns-coptic multimedia library ترانيم كنسية - مكتبة الوسائط المتعددة القبطية

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Source: https://en.wikipedia.org/wiki/Music_of_Egypt

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