Music of Ethiopia: Difference between revisions

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	The '''music of Ethiopia''' is extremely diverse, with each of ]'s ethnic groups being associated with unique sounds. Some forms of traditional ] are strongly influenced by ] and ] from elsewhere in the ], especially ]. However, Ethiopian religious music also has an ancient ] element, traced to ], who lived during the reign of ]. In northeastern Ethiopia, in ], a ]al form called ] developed. Sung in ], manzuma has spread to ] and ], where it is now sung in the ].		The '''music of Ethiopia''' is extremely diverse, with each of ]'s ethnic groups being associated with unique sounds. Some forms of traditional ] are strongly influenced by ] and ] from elsewhere in the ], especially ]. However, Ethiopian religious music also has an ancient ] element, traced to ], who lived during the reign of ]. In northeastern Ethiopia, in ], a ]al form called ] developed. Sung in ], manzuma has spread to ] and ], where it is now sung in the ].

Revision as of 18:32, 25 February 2007

The music of Ethiopia is extremely diverse, with each of Ethiopia's ethnic groups being associated with unique sounds. Some forms of traditional music are strongly influenced by Muslim and folk music from elsewhere in the Horn of Africa, especially Somalia. However, Ethiopian religious music also has an ancient Christian element, traced to Yared, who lived during the reign of Gabra Masqal. In northeastern Ethiopia, in Wollo, a Muslim musical form called manzuma developed. Sung in Amharic, manzuma has spread to Harar and Jimma, where it is now sung in the Oromo language.

Music theory

The music of Ethiopia uses a unique modal system that is pentatonic, with characteristically long intervals between some notes. This creates a somewhat "unfinished" and anticipatory atmosphere to the music. It gives an "on the edge of your seat experience". Added to this is the complex and distinctive rhythm vishal of triplets that seem to give the music a certain "jumpiness". Notwithstanding this, however, the overall effect is often felt to be quite relaxing and hypnotic.

In more traditional music, the male vocal chants can sometimes resemble the vocalizations of the Masai of Kenya and Tanzania.

Traditional instruments

Traditional music is played by itinerant musicians called azmari, who are regarded with both suspicion and respect by Ethiopian society. Folk instruments include masenqo (fiddle), washint (flute), kebero (percussion), krar (lyre), and begena (large lyre).

Popular music

Ethiopia is a musically traditional country. Of course, popular music is played, recorded and listened to, but most musicians also sing traditional songs, and most audiences choose to listen to both popular and traditional styles. A longstanding popular musical tradition in Ethiopia was that of brass bands, imported from Jerusalem in the form of forty Armenian orphans (Arba Lijoch) during the reign of Haile Selassie. This band, which arrived in Addis Ababa on September 6 1924 became the first official orchestra of Ethiopia. By the end of World War II, large orchestras accompanied singers; the most prominent orchestras were the Army Band, Police Band, and Imperial Bodyguard Band. Most of these bands were trained by Europeans or Armenians.

From the 1950s to the 1970s, Ethiopian popular musicians included Bezunesh Bekele, Mahmoud Ahmed, Alemayehu Eshete, Hirut Bekele, Ali Birra, Ayalew Mesfin, Kiros Alemayehu, Muluken Mellesse and Tilahun Gessesse, while popular folk musicians included Alemu Aga, Kassa Tessema, Ketema Makonnen, Asnaketch Worku, and Mary Armede. Perhaps the most influential musician of the period, however, was Ethio-jazz innovator Mulatu Astatke. Amha Records, Kaifa Records, and Philips-Ethiopia were prominent Ethiopian record labels during this era. Since 1997, Buda Musique's Ethiopiques series has compiled many of these singles and albums on compact disc.

During the 1980s, the Derg controlled Ethiopia, and emigration became almost impossible. Musicians during this period included Ethio Stars, Wallias Band and Roha Band, though the singer Neway Debebe was most popular. He helped to popularize the use of seminna-werq (wax and gold, a poetic form of double entendre) in music (previously only used in qiné, or poetry) that often enabled singers to criticize the government without upsetting the censors.

Contemporary scene

One of the most popular musicians from Ethiopia is the Los Angeles–area expatriate Aster Aweke.

More recently, music from Tigray and Eritrea has become popular in Ethiopia and among exiles, especially in Italy. One of the biggest new trends, however, has been the rise of bolel, a sort of blues-like music, played by sarcastic azmari playing in parts of Addis Ababa, especially Yohannès Sefer and Kazentchis. Bolel musicians include Tigist Assefa, Tedje and Admassou Abate.

Currently the most prominent Ethiopian singer internationally is Gigi. Through her performing with top jazz musicians like Bill Laswell and Herbie Hancock, Gigi has brought Ethiopian music to popular attention, especially in the United States, where she now lives.

Others include Teddy Afro, Kuku Sebsebe, and rising star Manalemosh Dibo.

Scholarship

Ashenafi Kebede produced much in the area of Ethiopian music, history, instrumentation and composition, as a leading ethnomusicologist in the field of Ethiopian music.

Template:East African music

References

Falceto, Francis. "Land of Wax and Gold". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 480-487. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0

External links

Category:

Ethiopian music