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Music of Syria
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Music of Syria
Regarding the music of Syria, there are certain musical traditions and practices that have been present in Syria longer than others. There have been musical influences introduced into Syria through multiple eras of conquest and influences from surrounding cultures in modern-day Syria (as opposed to the region of Syria). Lying near Egypt and Israel, and connected to southern Europe by the Mediterranean, Syria became host to many distinct cultural musics through trade and route. The music present in Syria is related greatly to poetry, influenced greatly by the Bedouin nomadic tribes, the maqam system in Arabic classical music, as well as influenced greatly by the geopolitical movement and conflict in the Middle East. Syrian music generally has a singer who is accompanied by three or four instruments. The texture is usually thin but can become denser depending on the use of each instrument. Music is tightly linked to poetry in Syria.
The classical music of Syria is part of the greater Arabic music world. The main components are a maqam and an iqa (rhythm/metre). A maqam is a set of scales made of up of three or four notes. A maqam will have two or three of these scales put together which is then played over the iqa (rhythm). Both the maqam and iqa can be advanced or simple to play. Both the maqam and iqa are to be thought of as a structure that the musicians would then ornament with the playing. Syria and the Middle East have a long history of conquest and conflict that have led to a diaspora, and modern diaspora has led to refugee camps. Music has become a means of consolation and preservation of culture in the refugee camps.
Syria borders the Mediterranean sea and is located in the Levant. This area has been culturally influenced by many conquests and geopolitical activity. The multiple influences and sweeping conquests have created many of the cultures to share particular practices or traditions. Music of the Middle East has a predominantly monophonic nature. This is more clearly understood as the music not having multiple melodies or harmonies playing. There can be a rich texture created if multiple instruments playing the same melody with slight variations or rhythmic ornamentations. Ethnomusicologist Bruno Nettl describes this as more common style of music texture known as another style of texture which he calls parallel polyphony which consists of a singer improvising a melody and an instrument following behind with the that same melody. Many of the tones played are played as an interpretation of the music from the player, rather than the music notation or song. This gives the player the freedom to bend or mold the notes causing an improvisational effect on the structure of the music. This results in a personal interpretation of the players feelings towards the song. This causes an effect that connects the performer with the audience which can create a feeling of ecstasy in the listener. Compared to western music, this may be similar to a solo produced by a player during a song or a rendition of a song that keeps the same form but is changed slightly creating an effect that is predictable enough to the listener while revealing new variations of the song. This style of song in Syrian music creates a feeling of excitement for how the musician will play the upcoming sections.
A significant part of Syrian music is sung in prose that participates in the distinctness of the Middle Eastern sound. There is an intersection of elements in Syrian music that give it a distinct sound as well as being a driving force in many of the music traditions found in Syria. These elements are:
Throughout time, history, and cultural amalgamation, the Syrian musical style has been constructed as a platform to create the perfect sonic environment for the listener to fully emerge in the stories told in the poetry. The story's narrative is told in the poetry and then enhanced by the music involving such accuracy in emotional effect from the quarter and microtones that it would provide the listener with the greatest understanding of the story.
A particularly influential group in Syrian music and specifically values, ideologies, folklore, and the poetic customs of the Levant are the Bedouin tribes.
Bedouin is a name given to the nomadic tribes that lived in the Levant which have played an important role in shaping the music present in the countries of the Levant. The Bedouin influence can be seen in the ideologies, customs, and musical genres. One such impact of Bedouin culture is in the music genres of rural Syria and Lebanon. Within the encounters of the Bedouin and surroundings regions, there was cultural exchange throughout the many years of these practices. The music genres reflecting the ideologies are as follows.
The Bedouin culture was transmitted from the travel to places either pillaging or trading with the settled communities for centuries. This ended during the French colonialist era following the treaty of Versailles.
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Music of Syria
Regarding the music of Syria, there are certain musical traditions and practices that have been present in Syria longer than others. There have been musical influences introduced into Syria through multiple eras of conquest and influences from surrounding cultures in modern-day Syria (as opposed to the region of Syria). Lying near Egypt and Israel, and connected to southern Europe by the Mediterranean, Syria became host to many distinct cultural musics through trade and route. The music present in Syria is related greatly to poetry, influenced greatly by the Bedouin nomadic tribes, the maqam system in Arabic classical music, as well as influenced greatly by the geopolitical movement and conflict in the Middle East. Syrian music generally has a singer who is accompanied by three or four instruments. The texture is usually thin but can become denser depending on the use of each instrument. Music is tightly linked to poetry in Syria.
The classical music of Syria is part of the greater Arabic music world. The main components are a maqam and an iqa (rhythm/metre). A maqam is a set of scales made of up of three or four notes. A maqam will have two or three of these scales put together which is then played over the iqa (rhythm). Both the maqam and iqa can be advanced or simple to play. Both the maqam and iqa are to be thought of as a structure that the musicians would then ornament with the playing. Syria and the Middle East have a long history of conquest and conflict that have led to a diaspora, and modern diaspora has led to refugee camps. Music has become a means of consolation and preservation of culture in the refugee camps.
Syria borders the Mediterranean sea and is located in the Levant. This area has been culturally influenced by many conquests and geopolitical activity. The multiple influences and sweeping conquests have created many of the cultures to share particular practices or traditions. Music of the Middle East has a predominantly monophonic nature. This is more clearly understood as the music not having multiple melodies or harmonies playing. There can be a rich texture created if multiple instruments playing the same melody with slight variations or rhythmic ornamentations. Ethnomusicologist Bruno Nettl describes this as more common style of music texture known as another style of texture which he calls parallel polyphony which consists of a singer improvising a melody and an instrument following behind with the that same melody. Many of the tones played are played as an interpretation of the music from the player, rather than the music notation or song. This gives the player the freedom to bend or mold the notes causing an improvisational effect on the structure of the music. This results in a personal interpretation of the players feelings towards the song. This causes an effect that connects the performer with the audience which can create a feeling of ecstasy in the listener. Compared to western music, this may be similar to a solo produced by a player during a song or a rendition of a song that keeps the same form but is changed slightly creating an effect that is predictable enough to the listener while revealing new variations of the song. This style of song in Syrian music creates a feeling of excitement for how the musician will play the upcoming sections.
A significant part of Syrian music is sung in prose that participates in the distinctness of the Middle Eastern sound. There is an intersection of elements in Syrian music that give it a distinct sound as well as being a driving force in many of the music traditions found in Syria. These elements are:
Throughout time, history, and cultural amalgamation, the Syrian musical style has been constructed as a platform to create the perfect sonic environment for the listener to fully emerge in the stories told in the poetry. The story's narrative is told in the poetry and then enhanced by the music involving such accuracy in emotional effect from the quarter and microtones that it would provide the listener with the greatest understanding of the story.
A particularly influential group in Syrian music and specifically values, ideologies, folklore, and the poetic customs of the Levant are the Bedouin tribes.
Bedouin is a name given to the nomadic tribes that lived in the Levant which have played an important role in shaping the music present in the countries of the Levant. The Bedouin influence can be seen in the ideologies, customs, and musical genres. One such impact of Bedouin culture is in the music genres of rural Syria and Lebanon. Within the encounters of the Bedouin and surroundings regions, there was cultural exchange throughout the many years of these practices. The music genres reflecting the ideologies are as follows.
The Bedouin culture was transmitted from the travel to places either pillaging or trading with the settled communities for centuries. This ended during the French colonialist era following the treaty of Versailles.