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.[1] Three additional modes are variations on the above: tezeta minor, bati major, and bati minor.[2][3][4] Some songs take the name of their qenet, such as tizita, a song of reminiscence.[1] 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.[1] In certain southern areas, some music is polyphonic. Dorze polyphonic singing (edho) may employ up to five parts; Majangir, four parts.[1]
Characteristics of the traditional music[edit]
• Music from the highlands of Ethiopia has a modal system called qenet which consists of four main modes; tezeta, bati, ambassel, and anchihoy. It also consists of three additional modes; tezeta minor, bati major, and bati minor.[12] • Pentatonic Scales: Ethiopian music has a pentatonic modal system with long intervals between notes contributing to the distinctive nature of the music.[13] • Complex Rhythms: Ethiopian music is known for its intricate rhythmic patterns, as with the case for many African music, often featuring irregular meters and syncopation. • Vocal Styles: Traditional Ethiopian singing includes a variety of vocal techniques, such as melismatic, ornamentation, vocal slides, and call-and-response structures. • In terms of instruments, Ethiopian music incorporates a wide variety of instruments. These instruments include the masinko, the krar, the washint, the begena, the kebero, and the tom-tom. • Regional Variations: Different regions of Ethiopia have their distinct musical styles since it has more than 75 ethnic groups with each ethnic group having diverse traditional music and sounds. • Cultural Significance: Music holds deep cultural and social significance in Ethiopia, often accompanying religious ceremonies, cultural festivals, and social gatherings. • Stimulating and expressing emotion in the performers, and imparting it to the listeners. This is a key trait of the Ethiopian traditional music. The emotion may be religious exaltation, as in the creation chant and a sacred song; grief, as in the laments; longing or passion, as in the love song.[14]
Traditional dances[edit]
The various tribes and ethnic groups of Ethiopia have their distinct music, cultures, and traditions. According to some analysts, Ethiopian dances are not divided according to their function but rather according to their uniqueness and individuality. Therefore, there are over 150 unique dance movements across Ethiopia. Oromiya region is the largest and their dance styles are different depending on place. Some of the famous dances are “Shoa Oromo” and “Halar Oromo”. Especially, Shoa Oromo dance has unique costumes as well as steps. Women wear leather-made wild two-piece costumes decorated with shells. Men wear fur skin like a lion’s mane on the head and use sticks for dance. What is most surprising is women’s very fast and sharp neck motion For example, the Tigrayans to the north have a smooth, circular dance routine characterized by shoulder and neck movements. The Amharas at the center of the country have a dance style dominated by upper body and neck movements. The Oromos at the center and south have a jumping style and full-bodied dance routine. The Gurages have an acrobatic dance that requires high levels of arm, leg, and body coordination. The Welayita, Kenbata, Sidama, Dawro, and others among the peoples of the South Region have very attractive belly dances that are hugely popular throughout the nation. The beats are quite rhythmic and fast. Eskista is a traditional Ethiopian cultural dance from the Amhara ethnic group performed by men, women, and children. It's known for its unique emphasis on intense shoulder movement which it shares with the shim-shim dance of the Tigrinya people in neighboring Eritrea. The dance is characterized by rolling and bouncing the shoulders, jilting the chest, and thrusting the neck in various directions. Motives and characteristics of the dance often vary according to the performers and the context, for example, war songs, hunting songs, shepherd songs, love songs, and work songs. The best dancer is typically appointed as the leader of the group and/or the best singer. The eskista dance brings the dancer into a role as a storyteller, who then expresses with his or her body the cultural traditions and life of the community. The dance, as well as the music and singing, serve as symbolic messages of Ethiopian society as a whole.[15]
Religious and secular music[edit]
Religious music is very important and plays significant role to Ethiopian Orthodox society. The term mezmur is instinctively denotes an Ethiopian Orthodox Tewahedo music. There are also wide range of Islamic music. Protestant music also plays a dominant role since booming its distribution via CDs in 2000s, and recently it evolves from digital downloads.
Some Ethiopian religious music has an ancient Christian element, traced to Yared, who lived during the reign of Emperor Gebre Meskel (Son of Kaleb of Aksumite Empire) in the 6th century. Yared was considered the father of Ethiopian-Eritrean traditional music as well as he composed chant or Zema and the use in liturgical music. Zema is divided into three chant modes: Ge'ez, Ezel and Araray.[16] Manzuma developed around 1907. Sung in Amharic and Oromo most notably in Dire Dawa, Harar and Jimma where Ethiopian Muslims reside.[17] In the Ethiopian Highlands, traditional secular music is played by mostly itinerant musicians called azmaris, who are regarded with respect in Ethiopian society.