African & Middle Eastern Music
African Music
Given the vastness of the continent, the traditional music of Africa is historically ancient, rich, and diverse, with the different regions and nations of Africa having distinct musical traditions.
Traditional music in much of the continent is passed down orally (or aurally) and is not written. In Sub-Saharan African music traditions, it also frequently relies heavily on percussion instruments of every variety, including xylophones, drums, and tone-producing instruments such as the mbira or "thumb piano."
The music and dance of the African diaspora, formed to varying degrees on African musical traditions, include American music and many Caribbean genres, such as soca, calypso, and zouk. Latin American music genres such as the samba, rumba, salsa, and other clave (rhythm)-based genres, were also founded to varying degrees on the music of enslaved Africans, and have in turn influenced African popular music.
Music by regions
North Africa and the Horn of Africa
North Africa (red region on map below) is the seat of ancient Egypt and Carthage, civilizations with strong ties to the ancient Near East and which influenced the ancient Greek and Roman cultures. Eventually, Egypt fell under Persian rule followed by Greek and Roman rule, while Carthage was later ruled by Romans and Vandals. North Africa was later conquered by the Arabs, who established the region as the Maghreb of the Arab world.
Like the musical genres of the Nile Valley and the Horn of Africa (sky-blue and dark green region on map), its music has close ties with Middle Eastern music and utilizes similar melodic modes (maqamat). North African music has a considerable range, from the music of ancient Egypt to the Berber and the Tuareg music of the desert nomads. The region's art music has for centuries followed the outline of Arabic and Andalusian classical music: its popular contemporary genres include the Algerian Raï.
With these may be grouped the music of Sudan and of the Horn of Africa, including the music of Eritrea, Ethiopia, Djibouti and Somalia. Somali music is typically pentatonic, using five pitches per octave in contrast to a heptatonic (seven note) scale such as the major scale. The music of the Ethiopian highlands uses a fundamental modal system called qenet, of which there are four main modes: tezeta, bati, ambassel, and anchihoy. Three additional modes are variations on the above: tezeta minor, bati major, and bati minor. Some songs take the name of their qenet, such as tizita, a song of reminiscence.
West, Central, Southeast and South Africa
The ethnomusicological pioneer Arthur Morris Jones (1889–1980) observed that the shared rhythmic principles of Sub-Saharan African music traditions constitute one main system. Similarly, master drummer and scholar C.K. Ladzekpo affirms the profound homogeneity of sub-Saharan African rhythmic principles.
African traditional music is frequently functional in nature. Performances may be long and often involve the participation of the audience. There are, for example, little different kinds of work songs, songs accompanying childbirth, marriage, hunting and political activities, music to ward off evil spirits and to pay respects to good spirits, the dead and the ancestors. None of this is performed outside its intended social context and much of it is associated with a particular dance. Some of it, performed by professional musicians, is sacral music or ceremonial and courtly music performed at royal courts.
Musicologically, Sub-Saharan Africa may be divided into four regions:
Southern, Central and West Africa are similarly in the broad Sub-Saharan musical tradition, but draw their ancillary influences primarily from Western Europe and North America.
Musical instruments
Besides vocalisation, which uses various techniques such as complex hard melisma and yodel, a wide array of musical instruments are used. African musical instruments include a wide range of drums, slit gongs, rattles and double bells, different types of harps, and harp-like instruments such as the Kora as well as fiddles), many kinds of xylophone and lamellophone such as the mbira, and different types of wind instrument like flutes and trumpets. Additionally, string instruments are also used, with the lute-like oud serving as musical accompaniment in some areas.
Drums used in African traditional music include talking drums, bougarabou and djembe in West Africa, water drums in Central and West Africa, and the different types of ngoma drums (or engoma) in Central and Southern Africa. Other percussion instruments include many rattles and shakers, such as the kosika (kashaka), rain stick, bells and wood sticks. Also, Africa has lots of other types of drums, and lots of flutes, and lots of stringed and wind instruments.
The playing of polyrhythms is one of the most universal characteristics of Sub-Sarahan music, in contrast to polyphony in Western music. Several uniquely designed instruments have evolved there over time to facilitate the playing of simultaneous contrasting rhythms. The mbira, kalimba, Kora and dousn'gouni are examples of these instruments which organize notes not in the usual single linear order from bass to treble, but in two separated rank arrays which allows additional ease in playing cross rhythms. The continuing influence of this principle can be seen in the gravi-kora and gravikord modern examples.
Influences on African music
Historically, several factors have influenced the tribal music of Africa. The music has been influenced by language, the environment, a variety of cultures, politics, and population movement, all of which are intermingled. Each African tribe evolved in a different area of the continent, which means that they ate different foods, faced different weather conditions, and came in contact with different tribes than other societies did. Each tribe moved at different rates and to different places than others, and thus each was influenced by different people and circumstances. Furthermore, each society did not necessarily operate under the same government, which also significantly influenced their music styles.
Influence on North American music
Although African American music is widely known and loved, and much popular North American music emerged from it, White American music also has strong African roots. The musical traditions of the Irish and Scottish settlers merged with African African musical elements to become old-time and bluegrass, among other genres.
African music has been a major factor in the shaping of what we know today as Dixieland, the blues and jazz. These styles have all borrowed from African rhythms and sounds, brought over the Atlantic ocean by slaves. African music in Sub-Saharan Africa is mostly upbeat polyrhythmic and joyful, whereas the blues should be viewed as an aesthetic development resulting from the conditions of slavery in the new world.
On his album Graceland, the American folk musician Paul Simon employs African bands, rhythms and melodies as a musical backdrop for his own lyrics; especially Ladysmith Black Mambazo. In the early 1970s, Remi Kabaka, an Afro-rock avant-garde drummer, laid the initial drum patterns that created the Afro-rock sounds in bands such as Ginger Baker's Airforce, The Rolling Stones, and Steve Winwood's Traffic. He continued to work with Winwood, Paul McCartney, and Mick Jagger throughout the decade.
Certain Sub-Saharan African musical traditions also had a significant influence on such well-known works as Disney's The Lion King and The Lion King II: Simba's Pride, which blend traditional tribal music with modern culture. Songs such as "Circle of Life" and "He Lives in You" combine of Zulu and English lyrics, as well as traditional African styles of music with more modern western styles. Additionally, the Disney classic incorporates numerous words from the Bantu Swahili language. The phrase hakuna matata, for example, is an actual Swahili phrase that does in fact mean "no worries". Characters such as Simba, Kovu, and Zira are also Swahili words, meaning "lion", "scar", and "hate", respectively.
Given the vastness of the continent, the traditional music of Africa is historically ancient, rich, and diverse, with the different regions and nations of Africa having distinct musical traditions.
Traditional music in much of the continent is passed down orally (or aurally) and is not written. In Sub-Saharan African music traditions, it also frequently relies heavily on percussion instruments of every variety, including xylophones, drums, and tone-producing instruments such as the mbira or "thumb piano."
The music and dance of the African diaspora, formed to varying degrees on African musical traditions, include American music and many Caribbean genres, such as soca, calypso, and zouk. Latin American music genres such as the samba, rumba, salsa, and other clave (rhythm)-based genres, were also founded to varying degrees on the music of enslaved Africans, and have in turn influenced African popular music.
Music by regions
North Africa and the Horn of Africa
North Africa (red region on map below) is the seat of ancient Egypt and Carthage, civilizations with strong ties to the ancient Near East and which influenced the ancient Greek and Roman cultures. Eventually, Egypt fell under Persian rule followed by Greek and Roman rule, while Carthage was later ruled by Romans and Vandals. North Africa was later conquered by the Arabs, who established the region as the Maghreb of the Arab world.
Like the musical genres of the Nile Valley and the Horn of Africa (sky-blue and dark green region on map), its music has close ties with Middle Eastern music and utilizes similar melodic modes (maqamat). North African music has a considerable range, from the music of ancient Egypt to the Berber and the Tuareg music of the desert nomads. The region's art music has for centuries followed the outline of Arabic and Andalusian classical music: its popular contemporary genres include the Algerian Raï.
With these may be grouped the music of Sudan and of the Horn of Africa, including the music of Eritrea, Ethiopia, Djibouti and Somalia. Somali music is typically pentatonic, using five pitches per octave in contrast to a heptatonic (seven note) scale such as the major scale. The music of the Ethiopian highlands uses a fundamental modal system called qenet, of which there are four main modes: tezeta, bati, ambassel, and anchihoy. Three additional modes are variations on the above: tezeta minor, bati major, and bati minor. Some songs take the name of their qenet, such as tizita, a song of reminiscence.
West, Central, Southeast and South Africa
The ethnomusicological pioneer Arthur Morris Jones (1889–1980) observed that the shared rhythmic principles of Sub-Saharan African music traditions constitute one main system. Similarly, master drummer and scholar C.K. Ladzekpo affirms the profound homogeneity of sub-Saharan African rhythmic principles.
African traditional music is frequently functional in nature. Performances may be long and often involve the participation of the audience. There are, for example, little different kinds of work songs, songs accompanying childbirth, marriage, hunting and political activities, music to ward off evil spirits and to pay respects to good spirits, the dead and the ancestors. None of this is performed outside its intended social context and much of it is associated with a particular dance. Some of it, performed by professional musicians, is sacral music or ceremonial and courtly music performed at royal courts.
Musicologically, Sub-Saharan Africa may be divided into four regions:
- The eastern region (light green regions on map) includes the music of Uganda, Kenya, Rwanda, Burundi, Tanzania, Malawi, Mozambique and Zimbabwe as well as the islands of Madagascar, the Seychelles, Mauritius and Comor. Many of these have been influenced by Arabic music and also by the music of India, Indonesia and Polynesia, though the region's indigenous musical traditions are primarily in the mainstream of the sub-Saharan Niger–Congo-speaking peoples.
- The southern region (brown region on map) includes the music of South Africa, Lesotho, Swaziland, Botswana, Namibia and Angola.
- The central region (dark blue region on map) includes the music of Chad, the Central African Republic, the Democratic Republic of the Congo and Zambia, including Pygmy music.
- West African music (yellow region on map) includes the music of Senegal and the Gambia, of Guinea and Guinea-Bissau, Sierra Leone and Liberia, of the inland plains of Mali, Niger and Burkina Faso, the coastal nations of Cote d'Ivoire, Ghana, Togo, Benin, Nigeria, Cameroon, Gabon and the Republic of the Congo as well as islands such as Sao Tome and Principe.
Southern, Central and West Africa are similarly in the broad Sub-Saharan musical tradition, but draw their ancillary influences primarily from Western Europe and North America.
Musical instruments
Besides vocalisation, which uses various techniques such as complex hard melisma and yodel, a wide array of musical instruments are used. African musical instruments include a wide range of drums, slit gongs, rattles and double bells, different types of harps, and harp-like instruments such as the Kora as well as fiddles), many kinds of xylophone and lamellophone such as the mbira, and different types of wind instrument like flutes and trumpets. Additionally, string instruments are also used, with the lute-like oud serving as musical accompaniment in some areas.
Drums used in African traditional music include talking drums, bougarabou and djembe in West Africa, water drums in Central and West Africa, and the different types of ngoma drums (or engoma) in Central and Southern Africa. Other percussion instruments include many rattles and shakers, such as the kosika (kashaka), rain stick, bells and wood sticks. Also, Africa has lots of other types of drums, and lots of flutes, and lots of stringed and wind instruments.
The playing of polyrhythms is one of the most universal characteristics of Sub-Sarahan music, in contrast to polyphony in Western music. Several uniquely designed instruments have evolved there over time to facilitate the playing of simultaneous contrasting rhythms. The mbira, kalimba, Kora and dousn'gouni are examples of these instruments which organize notes not in the usual single linear order from bass to treble, but in two separated rank arrays which allows additional ease in playing cross rhythms. The continuing influence of this principle can be seen in the gravi-kora and gravikord modern examples.
Influences on African music
Historically, several factors have influenced the tribal music of Africa. The music has been influenced by language, the environment, a variety of cultures, politics, and population movement, all of which are intermingled. Each African tribe evolved in a different area of the continent, which means that they ate different foods, faced different weather conditions, and came in contact with different tribes than other societies did. Each tribe moved at different rates and to different places than others, and thus each was influenced by different people and circumstances. Furthermore, each society did not necessarily operate under the same government, which also significantly influenced their music styles.
Influence on North American music
Although African American music is widely known and loved, and much popular North American music emerged from it, White American music also has strong African roots. The musical traditions of the Irish and Scottish settlers merged with African African musical elements to become old-time and bluegrass, among other genres.
African music has been a major factor in the shaping of what we know today as Dixieland, the blues and jazz. These styles have all borrowed from African rhythms and sounds, brought over the Atlantic ocean by slaves. African music in Sub-Saharan Africa is mostly upbeat polyrhythmic and joyful, whereas the blues should be viewed as an aesthetic development resulting from the conditions of slavery in the new world.
On his album Graceland, the American folk musician Paul Simon employs African bands, rhythms and melodies as a musical backdrop for his own lyrics; especially Ladysmith Black Mambazo. In the early 1970s, Remi Kabaka, an Afro-rock avant-garde drummer, laid the initial drum patterns that created the Afro-rock sounds in bands such as Ginger Baker's Airforce, The Rolling Stones, and Steve Winwood's Traffic. He continued to work with Winwood, Paul McCartney, and Mick Jagger throughout the decade.
Certain Sub-Saharan African musical traditions also had a significant influence on such well-known works as Disney's The Lion King and The Lion King II: Simba's Pride, which blend traditional tribal music with modern culture. Songs such as "Circle of Life" and "He Lives in You" combine of Zulu and English lyrics, as well as traditional African styles of music with more modern western styles. Additionally, the Disney classic incorporates numerous words from the Bantu Swahili language. The phrase hakuna matata, for example, is an actual Swahili phrase that does in fact mean "no worries". Characters such as Simba, Kovu, and Zira are also Swahili words, meaning "lion", "scar", and "hate", respectively.
Popular Music
African popular music, like African traditional music, is vast and varied. Most contemporary genres of African popular music build on cross-pollination with western popular music, Many genres of popular music, including blues, jazz and rumba, derive to varying degrees from musical traditions from Africa, taken to the Americas by enslaved Africans. These rhythms and sounds have subsequently been adapted by newer genres like rock and rhythm and blues. Similarly, African popular music has adopted elements, particularly the musical instruments and recording studio techniques of western music.
One of the most important 20th century singers of South African popular music was Miriam Makeba, who played a key-role, in the 60s, in drawing global audience's attention to African music and its meaning.
The Afro-Euro hybrid style, the Cuban son, has had an influence on certain popular music in Africa. Some of the first guitar bands on the continent played covers of Cuban songs. The early guitar-based bands from the Congo called their music rumba (although it was son rather than rumba-based). The Congolese style eventually evolved into what became known as soukous.
This powerful music embodies all that is African. The raw vocals punctuate the rhythmic beat of the music and together they affirm the wonders of this magnificent continent:
African popular music, like African traditional music, is vast and varied. Most contemporary genres of African popular music build on cross-pollination with western popular music, Many genres of popular music, including blues, jazz and rumba, derive to varying degrees from musical traditions from Africa, taken to the Americas by enslaved Africans. These rhythms and sounds have subsequently been adapted by newer genres like rock and rhythm and blues. Similarly, African popular music has adopted elements, particularly the musical instruments and recording studio techniques of western music.
One of the most important 20th century singers of South African popular music was Miriam Makeba, who played a key-role, in the 60s, in drawing global audience's attention to African music and its meaning.
The Afro-Euro hybrid style, the Cuban son, has had an influence on certain popular music in Africa. Some of the first guitar bands on the continent played covers of Cuban songs. The early guitar-based bands from the Congo called their music rumba (although it was son rather than rumba-based). The Congolese style eventually evolved into what became known as soukous.
This powerful music embodies all that is African. The raw vocals punctuate the rhythmic beat of the music and together they affirm the wonders of this magnificent continent:
(If the pop-up on the video is bothering you, click "Watch on Youtube.com" in the set of controls on the bottom and when it takes you to Youtube.com, click the small "X" on the top right of the pop-up)
Middle Eastern Music
Middle eastern music spans across a vast region, from Morocco to Iran. The various nations of the region include the Arabic-silent countries of the Middle East and North Africa, the Iraqi traditions of Mesopotamia, Iranian traditions of Persia, the Hebrew music of Israel, Armenian music, the varied traditions of Cypriot music, the music of Turkey, traditional Assyrian music, Berbers of North Africa, and Coptic Christians in Egypt.
Throughout the region, religion has been a common factor in uniting peoples of different languages, cultures and nations. The predominance of Islam allowed a great deal of Arabic and Byzantine influence to spread through the region rapidly from the 7th century onward. The Arabic scale is strongly melodic, based on various maqamat (sing. maqam) or modes (also known as makam in Turkish music). Arabs translated and developed Greek texts and works of music and mastered the musical theory of the music of ancient Greece (i.e. Systema ametabolon, enharmonium, chromatikon, diatonon). This is similar to the dastgah of Persian music. While this originates with classical music, the modal system has filtered down into folk, liturgical and even popular music, with influence from the West. Unlike much western music, Arabic music includes quarter tones halfway between notes, often through the use of stringed instruments (like the oud) or the human voice. Further distinguishing characteristics of Middle Eastern and North African music include very complex rhythmic structures, generally tense vocal tone, and a monophonic texture.
Often, more traditional Middle Eastern music can last from one to three hours in length, building up to anxiously awaited, and much applauded climaxes, or tarab, derived from the Arabic term طرب tarraba.
Instruments used
Strings
Many instruments originate in the Middle East region. Most popular of the stringed instruments is the oud, a pear-shaped lute that traditionally had four strings, although current instruments have up to six courses consisting of one or two strings each. Legend has it that the oud was invented by Lamech, the sixth grandson of Adam. This is stated by Farabi, and it is part of the Iraqi folklore relating to the instrument. Legend goes on to suggest that the first oud was inspired by the shape of his son's bleached skeleton.
Historically, the oldest pictorial record of the oud dates back to the Uruk period in Southern Mesopotamia over 5000 years ago. It is on a cylinder seal currently housed at the British Museum and acquired by Dr. Dominique Collon, Editor of Iraq at the British Institute for the Study of Iraq.
It is used mostly in court music for royals and the rich, the harp also comes from Sumer c. 3500 BC.
The widespread use of the oud led to many variations on the instrument, including the saz, a Turkish long-necked lute that remains very popular in Turkey. Last of the popular string instruments is the qanoun, developed by Farabi during the Abbasids era. Legend has it that Farabi played qanoun in court,and he made people laugh, cry, and fall asleep.
The qanoun developed out of string instruments described in inscriptions that date to the Assyrian period. It has about 26 triple-string courses, plucked with a piece of horn. The musician has the freedom to alter the pitch of individual courses from a quarter to a whole step by adjusting metal levers.
Percussion
Percussion instruments play a very important role in Middle Eastern music. The complex rhythms of this music are often played on many simple percussion instruments. The riq الرق (a type of tambourine) and finger cymbals add a higher rhythmic line to rhythm laid down with sticks, clappers, and other drums. An instrument native to Egypt, Israel, Palestine, and Lebanon, the doumbek (or tombak), is a drum made of ceramic clay, with a goatskin head glued to the body.
Winds
The last section of instruments is the woodwinds. The Moroccan oboe, also called the rhaita, has a double-reed mouthpiece that echoes sound down its long and narrow body. Similar instruments are called zurnas (the Persian oboe) were used more for festivals and loud celebrations. A Turkish influence comes from the mey, which has a large double reed. Bamboo reed pipes are the most common background to belly dancing and music from Egypt. Flutes are also a common woodwind instrument in ensembles. A kaval is a three-part flute that is blown in one end, whereas the ney is a long cane flute, played by blowing across the sharp edge while pursing the lips.
Influence of religion
The influence of religions such as Islam and Judaism has had a great impact on the musical culture of the Middle East. Religion forms a major background to many traditional styles of music and dance, ranging from classical to more modern. All over the Middle East, you hear songs of praise and prayer. What is conducted by a muezzin, or prayer caller, for example, are the five daily calls to prayer. Only since the nineteenth century have individual reciters started singing the Qur'an while still strictly abiding by the laws and rules. This, however is grossly inaccurate. This form of Quran recital is called Tajwid, تجويد, which is the Arabic word for elocution.
Common genres
- Algerian Raï
- Arabic music
- Arabic Andalusian
- Arabic Pop
- Arabic Rap
- Arabesque music
- Armenian music
- Assyrian/Syriac folk music
- Berber music
- Egyptian Chaabi and El-Gil
- Iranian music
- Persian Classical/Traditional Music
- Persian Folk Music
- Iraqi music
- Jewish music
- Israeli music
- Jordanian music
- Lebanese music
- Kurdish Music
- Mawwal
- Moroccan music
- Mugham
- Palestinian music
- Pizmonim- Jewish liturgical
- Rapbesk
- Rnbesk
- Somali music
- Sufi Music
- Sha'abi
- Syrian music
- Turkish music
- Janissary Music
- Turkish/Ottoman Classical Music
- Turkish folk music
- Zajal