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Music has been an integral part of Egyptian culture since antiquity. The Bible documents the instruments played by the ancient Hebrews, all of which are correlated in Egyptian archaeology. Egyptian music probably had a significant impact on the development of ancient Greek music, and via the Greeks was important to early European music well into the Middle Ages. Egyptian modern music is considered as a main core of Middle Eastern and Oriental music as it has a very big influence on the region due to the popularity and huge influence of Egyptian Cinema and Music industries. The tonal structure of Oriental Middle Eastern music is defined by the maqamat, loosely similar to the Western modes, while the rhythm of Middle Eastern music is governed by the iqa'at, standard rhythmic modes formed by combinations of accented and unaccented beats and rests.
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 as cows. Hathor's music was believed to have been used by Osiris as part of his effort to civilise the world. The lion-goddess Bastet was also considered a goddess of music.
In prehistoric Egypt, music and chanting were commonly used in magic and rituals. Rhythms during this time were unvaried and music served to create rhythm. Small shells were used as whistles. pp26–30)(
During the predynastic period of Egyptian history, funerary chants continued to play an important role in Egyptian religion and were accompanied by clappers or a flute. Despite the lack of physical evidence in some cases, Egyptologists theorise that the development of certain instruments known of the Old Kingdom period, such as the end-blown flute, took place during this time. pp33–34)(
The evidence for instruments played is more securely 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 frequently accompanied music and dance, much as they still do in Egypt today.
Typically ancient Egyptian music was composed from the phrygian dominant scale, phrygian scale, double harmonic scale (Arabic scale) or lydian scale.[ citation needed ] The phrygian dominant scale may often feature an altered note or two in parts to create tension. For instance the music could typically be in the key of E phrygian dominant using the notes E, F, G sharp, A, B, C, D and then have an A sharp, B, A sharp, G natural and E to create tension.
Early Middle Eastern music was influenced by Byzantine and Persian forms, which were themselves heavily influenced by earlier Greek, Semitic, and Ancient Egyptian music.
Egyptians in Medieval Cairo believed that music exercised "too powerful an effect upon the passions, and leading men into gaiety, dissipation and vice." However, Egyptians generally were very fond of music. Though, according to E.W. Lane, no "man of sense" would ever become a musician, music was a key part of society. Tradesmen of every occupation used music during work and schools taught the Quran by chanting. p359)(
The music of Medieval Egypt was derived from Greek and Persian traditions. Lane said that "the most remarkable peculiarity of the Arab system of music is the division of tones into thirds," although today Western musicologists prefer to say that Arabic music's tones are divided into quarters. The songs of this period were similar in sound and simple, within a small range of tones. Egyptian song, though simple in form, is embellished by the singer. Distinct enunciation and a quavering voice are also characteristics of Egyptian singing. pp360–361)(
Male professional musicians during this period were called Alateeyeh (plural), or Alatee (singular), which means "a player upon an instrument". However, this name applies to both vocalists as well as instrumentalists. This position was considered disreputable and lowly. However, musicians found work singing or playing at parties to entertain the company. They generally made three shillings a night, but earned more by the guests' givings.
Female professional musicians were called Awalim (pl) or Al’meh, which means a learned female. These singers were often hired on the occasion of a celebration in the harem of a wealthy person. They were not with the harem, but in an elevated room that was concealed by a screen so as not to be seen by either the harem or the master 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 instance 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.
In the second half of the 19th century, the Hasaballah genre of popular improvisational brass band folk music emerged, initiated by clarinettist Mohammad Hasaballah and his band, also called Hasaballah, playing in Cairo's 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.
Egyptian music began to be recorded in the 1910s when Egypt was still part of the Ottoman Empire. The cosmopolitan Ottomans encouraged the development of the arts, encouraging women and minorities to develop their musical abilities. By the fall of the Empire, Egypt's classical musical tradition was already thriving, centered on the city of Cairo. In general, modern Egyptian music blends its indigenous traditions with Turkish and western elements.
Since the end of World War I, some of the Middle East's biggest musical stars have been Egyptian. Contemporary Egyptian music traces its beginnings to the creative work of luminaries such as Abdu-l Hamuli, Almaz and Mahmud Osman, who were all patronized by the Ottoman Khedive Ismail, and who influenced the later work of the 20th century's most important Egyptian composers: Sayed Darwish, Umm Kulthum, Mohammed Abdel Wahab, Abdel Halim Hafez, and Zakariya Ahmed. Most of these stars, including Umm Kulthum and Nagat El-Saghira, were part of the traditional Egyptian music. Some, like Abd el-Halim Hafez, were associated with the Egyptian nationalist movement from 1952 onward.
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 particular church. Muslim mulids are related to the Sufi zikr ritual. The Egyptian flute, called the ney, is commonly played at mulids. The liturgical music of the Alexandrian Rite also constitutes an important element of Egyptian music and is said to have preserved many features of ancient Egyptian music.
Egyptian folk music, including the traditional Sufi dhikr rituals, are the closest contemporary music genre to ancient Egyptian music, having preserved many of its features, rhythms and instruments.
The 20th century has seen Cairo become associated with a roots revival. Musicians from across Egypt are keeping folk traditions alive, such as those of rural Egyptians (fellahin), the Saii'da, and to a lesser extent minorities like the Siwa people, the Egyptian Gypsies, the Sinawis and the Nubians. Mixtures of folk and pop have also risen from the Cairo hit factory.
Since the Nasser era, Egyptian pop music has become increasingly important in Egyptian culture, particularly among the large youth population of Egypt. Egyptian folk music continues to be played during weddings and other traditional festivities. In the last quarter of the 20th century, Egyptian music was a way to communicate social and class issues. Among some of the most popular Egyptian pop singers today are Mohamed Mounir and Amr Diab.
Sawahli (coastal) music is a type of popular Egyptian music from the country's northern coast, and is based around ancient Egyptian instrumentals, mainly the simsimiyya, which is an indigenous stringed instrument. Well-known singers include Abdo El-Iskandrani and Eid El-Gannirni.
Egyptian musicians from Upper Egypt play a form of folk music called Ṣa‘īdi which originates from Upper Egypt). Discovered in 1975 by Alain Weber, Metqal Qenawi's Les Musiciens du Nil ( Musicians of the Nile) are the most popular saidi group, and were chosen by the government to represent Egyptian folk music abroad. They spent over three decades touring Europe performing at various festivals and musical events and in 1983 after their performance in the World of Music and Dance Festival, they were signed to Peter Gabriel's label Real World-Carolina and went on to feature on his Album Passion. Other performers include Shoukoukou, Ahmad Ismail, Omar Gharzawi, Sohar Magdy and Ahmed Megahid.
In 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, but migration and intercultural contact with Egyptian and other musical genres have produced new innovations. Ali Hassan Kuban's efforts had made him a regular on the world music scene, while Mohamed Mounir's social criticism and sophisticated pop have made him a star among Nubians, Egyptians, and other people worldwide. Ahmed Mounib, Mohamed Mounir's mentor, was by far the most notable Nubian singer to hit the Egyptian music scene, singing in both Egyptian Arabic as well as in his native Nobiin. Hamza El Din was another popular Nubian Egyptian artist, well known on the world music scene and has collaborated with the Kronos Quartet.
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 second generation of Egyptian composers included notable artists such as Gamal Abdelrahim. Representative composers of the third generation are Ahmed El-Saedi and Rageh Daoud. In the early 21st century, even fourth generation composers such as Mohamed Abdelwahab Abdelfattah (of the Cairo Conservatory) have gained international attention.
During the Abbasid and Ottoman dynasty Egypt was one of the main musical hubs in the middle east and therefore after the fall of the Ottoman Empire in 1923 Egypt became the capital of Arabic music where classical instruments such as the oud, qanun and ney were widely used. The typical takht (ensemble) consisted of an Oud player, qanun player, ney player and violin player. The takht (literally meaning a sofa) was the most common form of ensembles in the early 20th century before the adoption of more orchestral instruments which were introduced by composers such as Mohamed El Qasabgi, Riad El Sunbati and Mohammed Abdel Wahab.
One of the most respected early electronic music composers, Halim El-Dabh, is an Egyptian. However, the Egyptian electronic music scene has only gained a mainstream foothold recently in the form of techno, trance and dance pop DJs such as Aly & Fila. In the 2010s, Shaabi music, a form of electronic music which often contains political lyrics, gained popularity both inside and outside music.
In the early 21st century, interest in the music of the pharaonic period began to grow, inspired by the research of such foreign-born musicologists as Hans Hickmann. By the early 21st century, Egyptian musicians and musicologists led by the musicology professor Khairy El-Malt at Helwan University in Cairo had begun to reconstruct musical instruments of Ancient Egypt, a project that is ongoing.
The culture of Egypt has thousands of years of recorded history. Ancient Egypt was among the earliest civilizations in Middle East and Africa. For millennia, Egypt maintained a strikingly unique, complex and stable culture that influenced later cultures of Europe.
Music is found in every known culture, past and present, varying widely between times and places. Since all people of the world, including the most isolated tribal groups, have a form of music, it may be concluded that music is likely to have been present in the ancestral population prior to the dispersal of humans around the world. Consequently, the first music may have been invented in Africa and then evolved to become a fundamental constituent of human life.
The music of Turkey includes mainly Turkic elements as well as partial influences ranging from Central Asian folk music, Arabic music, Greek music, Ottoman music, Persian music and Balkan music, as well as references to more modern European and American popular music. Turkey is a country on the northeastern shore of the Mediterranean Sea, and is a crossroad of cultures from across Europe, North Africa, the Middle East, the Caucasus and South and Central Asia
Arabic music or Arab music is the music of the Arab world with all its different music styles and genres. Arabic countries have many rich and diverse styles of music and also many dialects; each country has its own traditional music.
North Africa has contributed to popular music, especially Egyptian classical and el Gil, Algerian raï and chaabi. The broad region is sometimes called the Maghreb, and the term Maghrebian music is in use. For a variety of reasons Libya does not have as extensive a popular tradition as its neighbors. Folk music, however, abounds, despite frequent condemnation and suppression from governments, and exists in multiple forms across the region—the Berbers, Sephardic Jews, Tuaregs and Nubians, for example, retain musical traditions with ancient roots.
Tunisia is a North African country with a predominantly Arabic-speaking population. The country is best known for malouf, a kind of music imported from Andalusia after the Spanish immigration in the 15th century. Though in its modern form, malouf is likely very dissimilar to any music played more than four centuries ago, it does have its roots in Spain and Portugal, and is closely related to genres with a similar history throughout North Africa, including malouf's Libyan cousin, Algerian gharnati and Moroccan ala or Andalusi. During the Ottoman era, malouf was influenced by Turkish music. However, Tunisian repertoires, styles and also instruments remain distinctive – the ʻūd tūnsī is an emblematic case. This is a close relative of the 'uds associated with Algeria and also Morocco.
Mohamed Mounir is an Egyptian singer and actor, with a musical career spanning more than three decades. He incorporates various genres into his music, including classical Egyptian Music, Nubian music, blues, jazz and reggae. His lyrics are noted both for their philosophical content and for their passionate social and political commentary. He is affectionately known by his fans as "The King" in reference to his album and play "El Malek Howwa El Malek". Mounir's family is from Nubia, Southern Aswan, Egypt.
Balkan music is a type of music found in the Balkan region of southeastern Europe. The music is characterised by complex rhythm. Famous bands in Balkan music were Taraf de Haïdouks, Fanfare Ciocarlia, and No Smoking Orchestra.
Ancient music is music that developed in literate cultures, replacing prehistoric music. Ancient music refers to the various musical systems that were developed across various geographical regions such as Mesopotamia, India, Persia, Egypt, China, Greece and Rome. Ancient music is designated by the characterization of the basic notes and scales. It may have been transmitted through oral or written systems.
Middle Eastern music spans across a vast region, from Morocco to Iran. The various nations of the region include the Arab countries of the Middle East and North Africa, the Iranian traditions of Persia, the Hebrew music of Israel and the diaspora, Armenian music, the varied traditions of Cypriot music, the music of Turkey, traditional Assyrian music, Berbers of North Africa, Coptic Christians in Egypt, and the Andalusian music very much alive in North Africa, all maintain their own traditions. It is widely regarded that some Middle-Eastern musical styles have influenced Central Asia, as well as Spain, and the Balkans.
Hamza El Din was a Egyptian composer, oud player, tar player, and vocalist. El Din was born in southern Egypt and studied the music of his native region Nubia, near the Sudanese border. He subsequently lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead.
Hany Shaker is an Egyptian singer, actor and composer. His first public appearance was when he sang with Abd El Halim Hafez Choral Group in "Sora", then he played in the movie Sayed Darwish as the young Sayed Darwish
Mohamed Garrana Rifaat is an Egyptian composer of classical music, a member of that nation's second generation of such composers.
Rageh Sami Daoud is an Egyptian composer of contemporary classical music. He is a member of that nation's third generation of such composers. He has composed for piano, voice, and orchestra, and has written a number of film scores.
Hans Robert Hermann Hickmann was an eminent German musicologist. He lived in Egypt and specialized in the music and organology of Ancient Egypt, and survivals thereof in Egyptian traditional music. He wrote about Egypt's tradition of cheironomy for the Grove Dictionary of Music and Musicians.
The kāwālā is an end-blown cane flute used in Arabic music. It is similar to the ney but has six finger holes, while the ney has seven. The kawala comes in up to nine different sizes, according to the maqam.
Mounir Mourad, born Maurice Zaki Mourad Mordechai was an Egyptian artist, singer, actor, and distinguished composer of lighthearted songs. His compositions included duets for Shadia and Abdel Halim Hafez.
Mechanical music technology is the use of any device, mechanism, machine or tool by a musician or composer to make or perform music; to compose, notate, play back or record songs or pieces; or to analyze or edit music. The earliest known applications of technology to music was prehistoric peoples' use of a tool to hand-drill holes in bones to make simple flutes. Ancient Egyptians developed stringed instruments, such as harps, lyres and lutes, which required making thin strings and some type of peg system for adjusting the pitch of the strings. Ancient Egyptians also used wind instruments such as double clarinets and percussion instruments such as cymbals. In Ancient Greece, instruments included the double-reed aulos and the lyre. Numerous instruments are referred to in the Bible, including the horn, pipe, lyre, harp, and bagpipe. During Biblical times, the cornet, flute, horn, organ, pipe, and trumpet were also used. During the Middle Ages, hand-written music notation was developed to write down the notes of religious Plainchant melodies; this notation enabled the Catholic church to disseminate the same chant melodies across its entire empire.
Mahraganat (English: festivals; Egyptian Arabic: مهرجانات [mɑh.ɾɑ.ɡɑˈnɑːt] or electro shaabi is a genre of Egyptian electronic dance music. Mahraganat is a combination of popular shaabi music played at weddings and electronic dance music. DJ Filo made the genre more well known with his team "set dyaba" released during the 2011 Egyptian Revolution. Although this may be the first ever track to go mainstream, Mahraganat was originally conceived first by the DJs El Sadat, Feelo, Zeezo El noby, Hamo, and Beeka in 2006. They shared their music via MP3 files and phones, and it could be heard playing in taxis, tuktuks and on the street. The first ever Mahragan mix was released by the group of friends in 2008-09 and it was called Mahragan "Mahragan Elsalam" which talked about friendship and how to be mature.
Hittite music is the music of the Hittites of the 17th-12th century BC and of the Syro-Hittite successor states of the 12th-7th century BC.