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Algerian music is virtually synonymous with Raï among foreigners; the musical genre has achieved great popularity in France, Spain and other parts of Europe. For several centuries, Algerian music was dominated by styles inherited from Al-Andalus, eventually forming a unique North African twist on these poetic forms. Algerian music came to include suites called nuubaat. Later derivatives include rabaab and hawzii.
Moroccan music varies greatly between geographic regions and social groups. It is influenced by musical styles including Arab, Berber, Andalusi, Mediterranean, Saharan, West African, and others.
Sierra Leone's music is a mixture of native, French, British, West Indian and Creole musical genres.
The music of Belize has a mix of Creole, Mestizo, Garìfuna, Mayan and European influences.
The music of Bahrain is part of the Persian Gulf folk traditions. Alongside Kuwait, it is known for sawt music, a bluesy genre influenced by African, Indian and Persian music. Sultan Hamid, Ali Bahar and Khaled El Sheikh are among the most popular musicians from Bahrain.
Kurdish music refers to music performed in the Kurdish languages and Zaza-Gorani languages. The earliest study of Kurdish music was initiated by the renowned Armenian priest and composer Komitas in 1903, when he published his work "Chansons kurdes transcrites par le pere Komitas" which consisted of twelve Kurdish melodies which he had collected. The Armenian Karapetê Xaço also preserved many traditional Kurdish melodies throughout the 20th century by recording and performing them. In 1909, Scholar Isya Joseph published the work "Yezidi works" in which he documented the musical practice of the Yazidis including the role of the musician-like qewal figures and the instruments used by the minority.
The music of Burkina Faso includes the folk music of 60 different ethnic groups. The Mossi people, centrally located around the capital, Ouagadougou, account for 40% of the population while, to the south, Gurunsi, Gurma, Dagaaba and Lobi populations, speaking Gur languages closely related to the Mossi language, extend into the coastal states. In the north and east the Fulani of the Sahel preponderate, while in the south and west the Mande languages are common; Samo, Bissa, Bobo, Senufo and Marka. Burkinabé traditional music has continued to thrive and musical output remains quite diverse. Popular music is mostly in French: Burkina Faso has yet to produce a major pan-African success.
The Comoros is a group of islands in the Indian Ocean, mostly an independent nation but also including the French territory of Mayotte. It is historically linked to both East Africa and France, and now has a strong Malagasy influence. Zanzibar's taarab music, however, remains the most influential genre on the islands, and a Comorian version called twarab is popular. Leading twarab bands include Sambeco and Belle Lumière, as well as singers including Chamsia Sagaf and Mohammed Hassan.
The traditional music of Mauritius is known as sega music, though reggae, zouk, soukous and other genres are also popular, but the latter genres do not originate from Mauritius, despite famous local singers such as Kaya, who successfully combined Reggae Music to create Mauritian Seggae. Well-known traditional sega singers from Mauritius include Ti Frére, Marlene Ravaton, Serge Lebrasse, Michel Legris and Fanfan.
Seychelles, which is an independent island chain in the Indian Ocean, has a distinct kind of music. Folk music incorporates multiple influences in a syncretic fashion, including English contredanse, polka and mazurka, French folk and pop, sega from Mauritius and Réunion, taarab, zouk, soukous moutya and other pan-African genres, as well as Polynesian and Indian music. A complex form of percussion music called Kanmtole is popular, along with combinations of Sega and Reggae called Seggae and combinations of Moutya and Reggae called Mouggae, as is Montea, a fusion of native folk rhythms with Kenyan benga developed by Patrick Victor. Jean Marc Volcy is another famous Seychellois musician who has brought a modern touch to traditional music. He has several albums including Sove Lavi.
Zouk is a musical movement pioneered by the French Antillean band Kassav' in the early 1980s. It was originally characterized by a fast tempo, a percussion-driven rhythm, and a loud horn section. Musicians from Martinique and Guadeloupe eventually added MIDI instrumentation to their compas style, which developed into a genre called zouk-love. Zouk-love is effectively the French Lesser Antilles' compas, and it gradually became indistinguishable from compas.
The latter part of the 19th century saw the increased popularization of African American music and the growth and maturity of folk styles like the blues.
Kayōkyoku is a Japanese pop music genre, which became a base of modern J-pop. The Japan Times described kayōkyoku as "standard Japanese pop" or "Shōwa-era pop".
Fanta Sacko is a Malian musician, whose debut, self-titled LP launched the bajourou music genre. She has helped establish a female singing tradition in Mali, which makes that country unique in West Africa, where female popular musicians are not generally approved of.
This is a list of folk music traditions, with styles, dances, instruments, and other related topics. The term folk music cannot be easily defined in a precise manner. It is used with widely varying definitions depending on the author, intended audience and context within a work. Similarly, the term traditions in this context does not connote any strictly-defined criteria. Music scholars, journalists, audiences, record industry individuals, politicians, nationalists, and demagogues may often have occasion to address which fields of folk music are distinct traditions based along racial, geographic, linguistic, religious, tribal, or ethnic lines, and all such peoples will likely use different criteria to decide what constitutes a "folk music tradition". This list uses the same general categories used by mainstream, primarily English-language, scholarly sources, as determined by relevant statements of fact and the internal structure of works.
Yosefa Lazen is an Israeli singer born of Yemeni-Jewish and Moroccan-Jewish parents. Her style blends world beat electronic dance music beats, rap and soul with traditional singing styles of the Morocco and Yemen. She lives in Israel.
The crossroads dance was a type of social event popular in Ireland up to the mid-20th century, in which people would congregate at the large cleared space of a crossroads to dance. In contrast to the later ceili styles, crossroads dances were generally set dancing or solo dancing. Set dances were performed as quadrilles where two sets of two couples danced facing each other. Solo dances were performed by the locality's best dancers. The crossroads dance declined in popularity in the mid-20th century, due to rural depopulation, musical recordings, and pressure of the Catholic clergy which resulted in the Public Dance Halls Act of 1935 which restricted all dancing to licensed establishments. In the early 1930s, the wooden platforms at crossroads became the focus of standoffs and faction fights between Fianna Fáil and the Blueshirts, with some destroyed by arson.
Toi music (Той) is a genre of popular folk music originated from Central Asia. This genre of music is popular in countries like Uzbekistan, Kazakhstan and Kyrgyzstan.
Hanan Bulu Bulu, is a modern Sudanese singer-songwriter and recording artist. In her music, she combines both songs by older Sudanese musicians as well as her own compositions. Her songs are characterized by modern arrangements ٫ played by her own band of professional musicians, and she enjoys wide popularity in Sudan as well as abroad.
References
- ↑ Ellingham, Mark; McVeigh, Shaun; Grisbrook, Don (1994-01-01). Morocco: the rough guide. Rough Guides. p. 523. ISBN 9781858280400.
- 1 2 Gauldie, Robin (2017-05-30). Morocco. New Holland Publishers. p. 28. ISBN 9781847730954.[ permanent dead link ]
- ↑ Broughton, Simon; Ellingham, Mark; Trillo, Richard (1999). World Music: Africa, Europe and the Middle East. Rough Guides. p. 572. ISBN 9781858286358.
- ↑ Tchebwa, Manda (2005). African music: new challenges, new vocations. UNESCO. p. 27.
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