Singing, clapping, dancing and shouting are forms of musical expression used by most early people. From Neolithic Egypt, whistles are found made of shells. Egyptian music goes on to influence that of the Greek and later cultures.
See also:
In Neolithic Egypt, people chant and sing for magic and religious rituals. The emphasis is on rhythm. During the predynastic period of Egyptian history, funerary chants play an essential part in religion.
They might be accompanied by a flute, pipe or clappers. It's believed inventions such as the end-blown flute appear at this time. By the time of the Old Kingdom in Egypt (c. 2650 BCE), musical instruments include arched harps, flutes and double clarinets.
See also:
The harp, or benet (Coptic voina) is one of the most popular musical instruments in Egyptian history. Above, a priest musician plays the arched harp for the seated falcon-headed Sun God Ra. A lotus blossom sends sweet scent to the god.
Up top, Eye of Ra (right eye, war and vengeance) and Eye of Horus (left eye, representing moon and healing) around a shen ring, symbol of protection. The God seems pleased. This depiction and script are among the many types of work undertaken by scribes.
See also:
From the Greeks, Egyptian influences come to European music in the medieval period or Middle Ages. Because of the country's millennia of history, Egyptian culture, such as sound and style of music and instruments, has created a significant musicology.
The tonal structure of Egyptian music is defined by the maqam, loosely similar to Western forms. Maqamat are based on a musical scale of 7 notes, repeating at the octave. Some maqamat have two or more alternative scales.
See also:
The word maqam in Arabic means place, location or position. The Arabic maqam is a type of melody described as a technique of improvisation defining the pitches, patterns, and development of a piece of music. The maqam is unique to Arabian art music.
Rhythm is governed by the iqa'at. Standard rhythmic modes are created with combinations of accented and unaccented beats and rests. The rhythmic cycles or iqa‘at (singular iqa‘) are patterns of beats repeating every measure.
See also:
A composition can switch back and forth between different iqa‘at. Each iqa‘ is defined using a prototypal measure and the two basic sounds: dum (bassy and sustained) and tak (dry and sharp).
The goddess Bat is credited with the invention of music. As Bat and goddess Hathor are both portrayed as cows, the cult of Bat merges with that of Hathor. Osiris uses Hathor's music in an effort to civilize the world.
See also:
Cat goddess Bastet also has a musical connection. Originally a lioness goddess, she becomes synchronized with Sekhmet, Egyptian goddess of war. As time goes by, Bastet assumes a gentler personality, while Sekhmet rages on as the Eye of Ra.
Bastet (Bast) sculptures, figurines and cat-head busts are often made of alabaster. Bastet is associated with the ceremonial sistrum, a type of musical rattle for ritual use. She's also goddess of protection against contagious diseases and evil spirits.
See also:
By the Egyptian Middle Kingdom (c. 2040 BCE), orchestras develop as percussion instruments and lutes are added to musical ensembles. Cymbals are to accompany ancient music and dance.
In medieval times or the Middle Ages (c. 475 - 1400 CE) early Middle Eastern music is influenced by Byzantine and Roman styles. These are influenced by earlier Greek, Semitic, and Ancient Egyptian music.
See also:
In medieval Cairo many Egyptians adhere to a belief music has "too powerful an effect upon the passions, leading men into gaiety, dissipation and vice." Overall however, early Egyptians enjoy music.
According to 19th century historian Edward William Lane, no "man of sense" would ever become a musician. Still, music is a key part of society then as now. Tradespeople of every occupation play music during work. Schools teach the Quran (c. 610 CE) with chanting.
See also:
The music of medieval Egypt is derived from ancient Egyptian and Byzantine traditions. Lane writes "the most remarkable peculiarity of the Arabic system of music is the division of tones into thirds."
Western musicologists prefer to interpret Arabic music tones as divided into quarters. The songs of this period are similar and simple, within a limited range of tones.
See also:
Egyptian song, though simple in form, is embellished by the singer. Distinct enunciation and a quavering voice are also characteristics of Egyptian singing.
Male professional musicians during this period were called Alateeyeh (plural), or Alatee (singular), which means "a player upon an instrument". This name applies to both vocalists as well as instrumentalists. Voice is also an instrument.
See also:
The position of musician is considered disreputable and lowly. Nonetheless, musicians find plenty of work singing or playing at parties and other venues of to entertainment. They make a low wage, under the equivalent of a half dollar per night, and depend on "givings" or tips.
Women are popular as singers and musicians for specific purposes. Female professional musicians are Awalim (pl) or Al’meh, meaning a learned female. Awalim are often hired for a celebration in the harem of a wealthy person.
See also:
The singers do not interact with the harem. They occupy an upper level room hidden by a screen. They can also be lament singers, as above. The Awalim are much better paid than Alateeyeh, male performers, and given more esteem as well.
Historian Lane tells of a female performer who so enchants her audience, she earns up to fifty guineas for one night's performance from the guests and host. The guinea is a coin minted in Great Britain from 1663 -1814, containing c. 1/4 troy ounce of gold.
See also:
Religious music is part of traditional Sufi Muslim and Coptic Christian mulid celebrations. Mulids venerate a particular saint or exalted Muslim figure, and are related to the Sufi zikr ritual performed by Muslim mystics. The Egyptian flute or ney is commonly played at mulids.
See also: