Culture of Egypt - Music

Music

Egyptian music is a rich mixture of indigenous Egyptian, African and Western influences.

As early as 4000 BC, ancient Egyptians were playing harps and flutes, as well as two indigenous instruments: the ney and the oud. However, there is little notation of Egyptian music before the 7th century AD, when Egypt became part of the Muslim world. Percussion and vocal music became important at this time, and has remained an important part of Egyptian music today.

Contemporary Egyptian music traces its beginnings to the creative work of luminaries such as Abdu-l Hamuli, Almaz, Sayed Mikkawi, and Mahmud Osman, who were all patronized by Khedive Ismail and who influenced the later work of Sayed Darwish, Umm Kulthum, Mohammed Abdel Wahab, Abdel Halim Hafez and other Egyptian music giants.

From the 1970s onwards, Egyptian pop music has become increasingly important in Egyptian culture, particularly among the large youth population of Egypt. Egyptian folk music is also popular, played during weddings and other festivities. In the last quarter of the 20th century, Egyptian music was a way to communicate social and class issues. The most popular Egyptian pop singers are Amr Diab, Tamer Hosny, Mohamed Mounir and Ali El Haggar.

Belly dance, or Raqs Sharqi (literally: oriental dancing) may have originated in Egypt, and today the country is considered the international center of the art.

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Famous quotes containing the word music:

    Music is either sacred or secular. The sacred agrees with its dignity, and here has its greatest effect on life, an effect that remains the same through all ages and epochs. Secular music should be cheerful throughout.
    Johann Wolfgang Von Goethe (1749–1832)

    But listen, up the road, something gulps, the church spire
    Opens its eight bells out, skulls’ mouths which will not tire
    To tell how there is no music or movement which secures
    Escape from the weekday time. Which deadens and endures.
    Louis MacNeice (1907–1963)

    Westminster Abbey is nature crystallized into a conventional form by man, with his sorrows, his joys, his failures, and his seeking for the Great Spirit. It is a frozen requiem, with a nation’s prayer ever in dumb music ascending.
    M. E. W. Sherwood (1826–1903)