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Music of Ethiopia
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Music of Ethiopia
Ethiopian music is a term that can mean any music of Ethiopian origin, however, often it is applied to a genre, a distinct modal system that is pentatonic, with characteristically long intervals between some notes.
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. When played on traditional instruments, these modes are generally not tempered (that is, the pitches may deviate slightly from the Western-tempered tuning system), but when played on Western instruments such as pianos and guitars, they are played using the Western-tempered tuning system.
Music in the Ethiopian highlands is generally monophonic or heterophonic. In certain southern areas, some music is polyphonic. Dorze polyphonic singing (edho) may employ up to five parts; Majangir, four parts.
In the highlands, traditional string instruments include the masenqo (also known as masinko), a one-string bowed lute; the krar (also known as kirar), a six-string lyre; and the begena, a large ten-string lyre. The dita (a five-string lyre) and musical bows (including an unusual three-string variant) are among the chordophones found in the south.
The washint is a bamboo flute that is common in the highlands. Trumpet-like instruments include the ceremonial malakat used in some regions, and the holdudwa (animal horn; compare shofar) found mainly in the south. Embilta flutes have no finger holes, and produce only two tones, the fundamental and a fourth or fifth interval. These may be metal (generally found in the north) or bamboo (in the south). The Konso and other people in the south play fanta, or pan flutes. It has 6 holes.
In the Ethiopian Orthodox Church, liturgical music employs the senasel (a sistrum). Additionally, the clergy will use walking stick, called mequamia, to maintain rhythm. Rural churches historically used a dawal to call the faithful to prayer. They are made from stone slabs or pieces of wood. The Beta Israel use a small gong called a qachel as liturgical accompaniment, though qachel may also refer to a small bell. The toom, a lamellophone, is used among the Nuer, Anuak, Majangir, Surma, and other Nilotic groups. Metal leg rattles are common throughout the south.
The kebero is a large hand drum used in the Orthodox Christian liturgy. Smaller kebero drums may be used in secular celebrations. The nagarit, played with a curved stick, is usually found in a secular context such as royal functions or the announcement of proclamations, though it has a liturgical function among the Beta Israel. The Gurage and certain other populations in the lowlands commonly play the atamo, a small hand drum sometimes made of clay. In Gambela Region, the Anuak specify three different kinds of drums: the anedo (small drum), the odola (medium drum), and the bul (big drum), with different rhythmic patterns attached to certain song genres. There is a special kind of drum referred to as tom-tom that is used in the southwestern part of the country, in Gambella Region. The beating of drums in general is very characteristic of the fast songs played in the south of the country, where you have the Kenbata, Hadiya, Gedeo, Sidama, and others performing their colorful, traditional belly dances that are reminiscent of the Middle Eastern or Arabic dancers.
Ethiopia has a long and at times tormented history. It has an equally long and fascinating history of arts and culture. Ethiopia and its folk music and culture have a long step in the history of civilization. The music of Ethiopia is a reflection of all the historical and social episodes, such as the military campaigns that various warlords or chiefs had to launch. The music is about war as well as patriotism, songs of victory, and songs that incite support for a certain crusade. The music is also about love, with wonderful melodies and poetic lyrics. The spirituality of Ethiopians is expressed in the form of music. All these types of tunes and melodies are prepared and performed using various traditional instruments.
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Music of Ethiopia
Ethiopian music is a term that can mean any music of Ethiopian origin, however, often it is applied to a genre, a distinct modal system that is pentatonic, with characteristically long intervals between some notes.
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. When played on traditional instruments, these modes are generally not tempered (that is, the pitches may deviate slightly from the Western-tempered tuning system), but when played on Western instruments such as pianos and guitars, they are played using the Western-tempered tuning system.
Music in the Ethiopian highlands is generally monophonic or heterophonic. In certain southern areas, some music is polyphonic. Dorze polyphonic singing (edho) may employ up to five parts; Majangir, four parts.
In the highlands, traditional string instruments include the masenqo (also known as masinko), a one-string bowed lute; the krar (also known as kirar), a six-string lyre; and the begena, a large ten-string lyre. The dita (a five-string lyre) and musical bows (including an unusual three-string variant) are among the chordophones found in the south.
The washint is a bamboo flute that is common in the highlands. Trumpet-like instruments include the ceremonial malakat used in some regions, and the holdudwa (animal horn; compare shofar) found mainly in the south. Embilta flutes have no finger holes, and produce only two tones, the fundamental and a fourth or fifth interval. These may be metal (generally found in the north) or bamboo (in the south). The Konso and other people in the south play fanta, or pan flutes. It has 6 holes.
In the Ethiopian Orthodox Church, liturgical music employs the senasel (a sistrum). Additionally, the clergy will use walking stick, called mequamia, to maintain rhythm. Rural churches historically used a dawal to call the faithful to prayer. They are made from stone slabs or pieces of wood. The Beta Israel use a small gong called a qachel as liturgical accompaniment, though qachel may also refer to a small bell. The toom, a lamellophone, is used among the Nuer, Anuak, Majangir, Surma, and other Nilotic groups. Metal leg rattles are common throughout the south.
The kebero is a large hand drum used in the Orthodox Christian liturgy. Smaller kebero drums may be used in secular celebrations. The nagarit, played with a curved stick, is usually found in a secular context such as royal functions or the announcement of proclamations, though it has a liturgical function among the Beta Israel. The Gurage and certain other populations in the lowlands commonly play the atamo, a small hand drum sometimes made of clay. In Gambela Region, the Anuak specify three different kinds of drums: the anedo (small drum), the odola (medium drum), and the bul (big drum), with different rhythmic patterns attached to certain song genres. There is a special kind of drum referred to as tom-tom that is used in the southwestern part of the country, in Gambella Region. The beating of drums in general is very characteristic of the fast songs played in the south of the country, where you have the Kenbata, Hadiya, Gedeo, Sidama, and others performing their colorful, traditional belly dances that are reminiscent of the Middle Eastern or Arabic dancers.
Ethiopia has a long and at times tormented history. It has an equally long and fascinating history of arts and culture. Ethiopia and its folk music and culture have a long step in the history of civilization. The music of Ethiopia is a reflection of all the historical and social episodes, such as the military campaigns that various warlords or chiefs had to launch. The music is about war as well as patriotism, songs of victory, and songs that incite support for a certain crusade. The music is also about love, with wonderful melodies and poetic lyrics. The spirituality of Ethiopians is expressed in the form of music. All these types of tunes and melodies are prepared and performed using various traditional instruments.