1) Egyptian music
Ancient Egyptian music can be traced back to 2700 B.C.E. Ancient musical instruments appearing in ancient Egyptian ruins show that Egypt's history of ancient music is second only to that of Mesopotamia, and that Egyptian music has a history of nearly 5,000 years; it is believed that Egyptian music at that time was based on ceremonial rituals and court music.
Egypt's traditional music, through Greece, Rome, Persia, Arabia, the Ottoman Empire, France, Napoleon and the modern rule of the British Empire, religious change, Judaism, Christianity, Islam, the traditional music of Egypt and the music of ancient Egypt, the relationship between the two is no longer available.
Existing Egyptian traditional music, both in style, theory, is a branch of Arab Islamic music. Arab music Mukam, is the soul of Egyptian music, more commonly used more than 20 kinds of dance music in Longa (Longa) and Burka (Burka) and the Egyptian Sufi, belly dance, etc., Egyptian singing such as Yalel (Yalel) and Tamzara (Tamzara), vocal music Moushahat (Moushahat) and Dor (Dor) and so on.
The Saidi dance of Northern Egypt is characterized by its magnificent costumes. Chamadan is a female solo dance with a waxed bamboo hat on her head.
Traditional Nubian music and dance in Southern Egypt and Sudan, this Sudanese folk music is a mixture of Egyptian and Sudanese songs, with two kinds of lyrics in Arabic or African. Egypt's ancient instruments such as (Lira) and the ancient Egyptian harp can only be recalled; still in use and the Arabian instruments similar to, such as (UR) Ruthen, suona, straight flute (Nay), a variety of bagpipes, Egyptian tambourine, round tambourine (Daf), Dabuka ceramic skin drum (Darbuka) and so on.
2) Ethiopian Music
Ethiopia retains the oldest church in Africa with a history of 1600 years, and the Ethiopians believe that 2000 years ago, the Roman Empire persecuted the Church of Jesus, and many believers fled to the mountains of Ethiopia, and in the caves on the top of the mountain, built many secret churches, and the Ethiopians still believe that the Ark of the Ten Commandments of Jesus is located in the Ark of the Law. The Isopian people still believe that the Ark of the Ten Commandments is located in one of the churches on Mount Isopia. The Isopian Church still maintains a part of its own parish in the Cathedral of Jeluceling. The royal family of ancient Isopia was very good at diplomacy. Successful diplomacy in the 10th and 17th centuries prevented the invasions of King Solomon of Zimbabwe and Italy, which had been invaded by Italy from 1935 to 1940. The people of Isopia are mainly Old Testament Christians, some Jews, and a few Muslims, confined to mountainous villages, and Isopia is the only African country that retains (and is still using) the oldest written hieroglyphic scripts in the world. Isopia is also the only African country to retain (and still use) the world's oldest hieroglyphic writing system, and its ethnicity is close to that of the Arabian Ham and Semites and the Negroes.
The ancient music of Isopia has several different styles, which is similar to the traditional songs of Yemen, and there are a lot of ironic poems from archaeological documents, and the chamber music is also very similar. Musical instruments from ancient Greece and the time of King David of Israel, such as the Baganna harp, have also been found. Ancient music is rich in melodic variation and rhythmic complexity, with the flavor of classical American blues. Non-religious poetry singing, began to appear in the 16th century in the Church of Israel, this singing style rhythm lively and light, full of prairie joy, due to this music and hymns a piece of singing in the church, the general public is difficult to distinguish between religious songs or ordinary poetry.
Isopian songs and dances are very beautiful and melodious, usually accompanied by flutes and traditional instruments, influenced by the chorus of Western churches, but also incorporating the rhythms of Isopian Africa, the Isopian people through the famine of the 1980s, but the people are happy with their lives. The Isopian National Song and Dance Troupe is of high caliber and often tours around the world, even coming to Taiwan in the 70s!
Isopia's musical instruments include the Kebarro and Nugarit drums, the Tcherawata and the Masonquo zither, the Begenna and various flutes, including the Mbilta, which is a kind of bagpipe with no holes, etc.
As a result of the famine in the 1980s, the people of Isopia are happy with their lives.
Due to the influence of the church, the Isopian drums are also painted with African-style stories of the miracles of Jesus Christ and are very collectible.
2. African music, as the original music of black Africans, has its own unique style, and therefore has influenced many other music in the course of its continuous development.
Jazz is a kind of popular music developed in New Orleans, USA in the late 19th and early 20th centuries. Its formation and development has gone through a relatively complicated process. Jazz comes from African music. 17-18th century, black Africans were trafficked to North America and lived an inhuman slave life, music became their main tool to express their inner pain and seek spiritual solace. The black slaves maintained the tradition of African music, while gradually being influenced by European music, which gave rise to many forms of black American music, such as the blues, ragtime, spirituals, gospel songs and so on. Among them, the blues and ragtime had the most obvious influence on the formation of jazz, and some of their artistic characteristics have remained in jazz music so far.
In addition, from a macro point of view, Latin American music is precisely a mixture of European, Indian and African music. But because of the mixture of different ingredients, degree, level, category, thus forming a very rich musical style. Indian music mainly uses a chromatic pentatonic scale with a downward trend in phrasing. There is much use of even-numbered beats, as well as syncopated rhythms; there are many solos and few repetitions. Latin American folk music, mainly the music of native-born whites and Indo-European mestizos, which uses a seven-tone scale, with a smooth, rounded melodic progression, relaxed singing, more repetitions, and music with a hint of nostalgia. American-African music, in which rhythm plays a decisive role in the music, has strong, complex and often multi-linear rhythms
3. Any reflection on African music needs to take note of the fact that Africa is not only a vast and unbroken piece of land, but also the beginning of a continent that embraces hundreds of different cultures and traditions. Thus traditional and contemporary African music presents a diversity of styles in American music.
The second observation to be made is that all modern African music (probably defined mostly as a combination of local folk songs and Western electroacoustic music) borrows a lot from the region's customs, such as Manu Dibango's (1966) "The Rise and Fall of Africa" and "The Rise and Fall of Africa", as well as the "The Rise of Africa" and "The Rise of Africa". For example, Manu Dibango's futuristic "Abele and Makossa" style has melodies and rhythms derived from Cameroonian "Abele and Makossa" folk music; Hugh Masquerade's "Abele and Makossa" style has melodies and rhythms derived from Cameroonian "Abele and Makossa" folk music. Hugh Masckela's jazz-influenced compositions were derived from South Africa's Mbaqanga music, as were some of the African singers now familiar to the West.
Perhaps the biggest conceptual difference between traditional and modern music in the world is the narrow line between performer and listener in traditional music. Western modern music has a basic form of performance with a rigid boundary between the listener (the giver) and the performer (the giver); traditional music subscribes to a much smaller boundary, accepting the response from the listener, usually in the form of a chorus of choruses following the orchestra's conductor, which creates a modern form that is characterized by traditional African styles that are continually changing and evolving away from their original styles.
The blurring of the line between audience and performer in today's Africa also affects the remuneration of professional musicians. In traditional village cultures, performers are often not paid (because village bands lead religious ceremonies and social events), and intermediary contributors are generally offset by money collected directly from individual listeners. Western systems of royalties on recordings and the establishment of performance fees are now becoming increasingly common in Africa, as in the case of Nigeria's Kim. King Sunny Ade in Nigeria. Major modern music stars such as Nigeria's King Sunny Ade and collect large performance fees from his listeners (where they can call on members of a band to specialize in the task).
Traditional music, of course, has changed not only the idea of catching modern music and the royalty system, but also the music itself. Each particular modern style is derived from the rhythms of a group of folk songs, and frequently changes name, as has been noted with Manu Dibango (Manu Dibango). As noted, Manu Dibango's "Macusa" style is often mistakenly thought to be borrowed from Western disco, when in fact it is based on an older form of Macusa rhythmic dance music. In fact, after the launch of Manu Dibango's In fact, the consistency of the beat with the popular disco beat at the time of the launch of Manu Dibango's "Soul Masckela" was merely a coincidence of commercial success.
The same is true instrumentally. Much of modern African music is performed for traditional folk bands, with vat-using drummers and percussionists in several of the funkiest bands, and just as drummers and percussionists are often paramount in traditional bands, they maintain a central role in modern bands, with guitars and keyboards viewed as second in importance. Even bands like those formed by Sonny Ed and Fela. Ed and Fela Kuti. Even Western-influenced bands such as those led by Sonny Ed and Fela Kuti place traditional drummers and percussionists at the center.