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Middle eastern music

MIDDLE EASTERN MUSIC



Middle eastern music spans across a vast region, from Morocco to Iran. Middle Eastern music influenced the music ofGreece and India, as well as Central Asia, Spain, the Caucasus and the Balkans, as in Byzantine music andChalga. The various nations of the region include the Arabic-speaking countries of the Middle East and North Africa, the Iraqi traditions of Mesopotamia, Iranian traditions of Persia, the Hebrew music of Israel, Armenian music, the varied traditions of Cypriot music, the music of Turkey, traditional Assyrian music, Berbers of North Africa, and Coptic Christians in Egypt all maintain their own traditions.Throughout the region, religion has been a common factor in uniting peoples of different languages, cultures and nations. The predominance of Islam allowed a great deal of Arabic and Byzantine influence to spread through the region rapidly from the 7th century onward. The Arabic scale is strongly melodic, based around various maqamat (sing. maqam) or modes (also known as makam in Turkish music). Arabs translated and developed Greek texts and works of music and mastered themusical theory of the music of ancient Greece (i.e. Systema ametabolon, enharmonium, chromatikon, diatonon).^[1] This is similar to the dastgah of Persian music. While this originates with classical music, the modal system has filtered down into folk, liturgical and even popular music, with influence from the West. Unlike much western music, Arabic music includesquarter tones halfway between notes, often through the use of stringed instruments (like the oud) or the human voice. Further distinguishing characteristics of Middle Eastern and North African music include very complex rhythmic structures, generally tense vocal tone, and a monophonic texture.Often, more traditional Middle Eastern music can last from one to three hours in length, building up to anxiously awaited, and much applauded climaxes, or tarab, derived from the Arabic term طرب tarraba.



 INSTRUMENTS

Strings[edit]Many instruments originate in the Middle East region. Most popular of the stringed instruments is the oud, a pear-shaped lute that traditionally had four strings, although current instruments have up to six courses consisting of one or two strings each. Legend has it that the oud was invented by Lamech, the sixth grandson of Adam. This is stated by Farabi, and it is part of the Iraqi folklore relating to the instrument. Legend goes on to suggest that the first oud was inspired by the shape of his son's bleached skeleton.^[3]Historically, the oldest pictorial record of the oud dates back to the Uruk period in Southern Mesopotamia over 5000 years ago. It is on a cylinder seal currently housed at the British Museum and acquired by Dr. Dominique Collon [2], Editor ofIraq at the British Institute for the Study of Iraq.^[4]Used mostly in court music for royals and the rich, the harp also comes from Sumer c. 3500 BC.^[5]The widespread use of the oud led to many variations on the instrument, including the saz, a Turkish long-necked lute that remains very popular in Turkey. Last of the popular string instruments is the qanoun, developed by Farabi during theAbbasids era. Legend has it that Farabi played qanoun in court,and he made people laugh, cry, and fall asleep.The qanoun developed out of string instruments described in inscriptions that date to the Assyrian period.^[6] It has about 26 triple-string courses, plucked with a piece of horn. The musician has the freedom to alter the pitch of individual courses from a quarter to a whole step by adjusting metal levers.^[7]Percussion[edit]Percussion instruments play a very important role in Middle Eastern music. The complex rhythms of this music are often played on many simple percussion instruments. The riq الرق (a type of tambourine) and finger cymbals add a higher rhythmic line to rhythm laid down with sticks, clappers, and other drums. An instrument native to Egypt, Israel, Palestine, andLebanon, the doumbek (or tombak), is a drum made of ceramic clay, with a goatskin head glued to the body.^{[citation needed]}Winds[edit]The last section of instruments is the woodwinds. The Moroccan oboe, also called the rhaita, has a double-reed mouthpiece that echoes sound down its long and narrow body. Similar instruments are called zurnas (the Persian oboe) were used more for festivals and loud celebrations. A Turkish influence comes from the mey, which has a large double reed. Bamboo reed pipes are the most common background to belly dancing and music from Egypt. Flutes are also a common woodwind instrument in ensembles. A kaval is a three-part flute that is blown in one end, whereas the ney is a long cane flute, played by blowing across the sharp edge while pursing the lips.^[7]

Middle eastern music

MIDDLE EASTERN MUSIC



Middle eastern music spans across a vast region, from Morocco to Iran. Middle Eastern music influenced the music ofGreece and India, as well as Central Asia, Spain, the Caucasus and the Balkans, as in Byzantine music andChalga. The various nations of the region include the Arabic-speaking countries of the Middle East and North Africa, the Iraqi traditions of Mesopotamia, Iranian traditions of Persia, the Hebrew music of Israel, Armenian music, the varied traditions of Cypriot music, the music of Turkey, traditional Assyrian music, Berbers of North Africa, and Coptic Christians in Egypt all maintain their own traditions.Throughout the region, religion has been a common factor in uniting peoples of different languages, cultures and nations. The predominance of Islam allowed a great deal of Arabic and Byzantine influence to spread through the region rapidly from the 7th century onward. The Arabic scale is strongly melodic, based around various maqamat (sing. maqam) or modes (also known as makam in Turkish music). Arabs translated and developed Greek texts and works of music and mastered themusical theory of the music of ancient Greece (i.e. Systema ametabolon, enharmonium, chromatikon, diatonon).^[1] This is similar to the dastgah of Persian music. While this originates with classical music, the modal system has filtered down into folk, liturgical and even popular music, with influence from the West. Unlike much western music, Arabic music includesquarter tones halfway between notes, often through the use of stringed instruments (like the oud) or the human voice. Further distinguishing characteristics of Middle Eastern and North African music include very complex rhythmic structures, generally tense vocal tone, and a monophonic texture.Often, more traditional Middle Eastern music can last from one to three hours in length, building up to anxiously awaited, and much applauded climaxes, or tarab, derived from the Arabic term طرب tarraba.



 INSTRUMENTS

Strings[edit]Many instruments originate in the Middle East region. Most popular of the stringed instruments is the oud, a pear-shaped lute that traditionally had four strings, although current instruments have up to six courses consisting of one or two strings each. Legend has it that the oud was invented by Lamech, the sixth grandson of Adam. This is stated by Farabi, and it is part of the Iraqi folklore relating to the instrument. Legend goes on to suggest that the first oud was inspired by the shape of his son's bleached skeleton.^[3]Historically, the oldest pictorial record of the oud dates back to the Uruk period in Southern Mesopotamia over 5000 years ago. It is on a cylinder seal currently housed at the British Museum and acquired by Dr. Dominique Collon [2], Editor ofIraq at the British Institute for the Study of Iraq.^[4]Used mostly in court music for royals and the rich, the harp also comes from Sumer c. 3500 BC.^[5]The widespread use of the oud led to many variations on the instrument, including the saz, a Turkish long-necked lute that remains very popular in Turkey. Last of the popular string instruments is the qanoun, developed by Farabi during theAbbasids era. Legend has it that Farabi played qanoun in court,and he made people laugh, cry, and fall asleep.The qanoun developed out of string instruments described in inscriptions that date to the Assyrian period.^[6] It has about 26 triple-string courses, plucked with a piece of horn. The musician has the freedom to alter the pitch of individual courses from a quarter to a whole step by adjusting metal levers.^[7]Percussion[edit]Percussion instruments play a very important role in Middle Eastern music. The complex rhythms of this music are often played on many simple percussion instruments. The riq الرق (a type of tambourine) and finger cymbals add a higher rhythmic line to rhythm laid down with sticks, clappers, and other drums. An instrument native to Egypt, Israel, Palestine, andLebanon, the doumbek (or tombak), is a drum made of ceramic clay, with a goatskin head glued to the body.^{[citation needed]}Winds[edit]The last section of instruments is the woodwinds. The Moroccan oboe, also called the rhaita, has a double-reed mouthpiece that echoes sound down its long and narrow body. Similar instruments are called zurnas (the Persian oboe) were used more for festivals and loud celebrations. A Turkish influence comes from the mey, which has a large double reed. Bamboo reed pipes are the most common background to belly dancing and music from Egypt. Flutes are also a common woodwind instrument in ensembles. A kaval is a three-part flute that is blown in one end, whereas the ney is a long cane flute, played by blowing across the sharp edge while pursing the lips.^[7]

Beach music, 

also known as Carolina beach music, and to a lesser extent, Beach pop, is a regional genre which developed from various rock/R&B/pop music of the 1950s and 1960s. Beach music is most closely associated with the style of swing dance known as the shag, or the Carolina shag, which is also the official state dance of both North Carolina andSouth Carolina. Recordings with a 4/4 "blues shuffle" rhythmic structure and moderate-to-fast tempo are the most popular music for the shag, and the vast majority of the music in this genre fits that description.
Though primarily confined to a small regional fan base, in its early days what is now known as Carolina beach music was instrumental in bringing about wider acceptance of R&B music among the white population nationwide. Thus is was a contributory factor in both the birth of rock and roll and the later development of soul music as a subgenre of R&B.
While the older styles of R&B have faded from popularity nationally, the Carolina shag has gained wide popularity in swing dance circles around the US. This has not generally led to increased appreciation for the music of the beach bands, however. Many of these new shag dance aficionados prefer the "R&B oldies" and/or shagging to currently popular tunes that happen to have the required beat. As more networking is being done on the Internet among shag deejays and beach music fans nationwide, however, there is a growing acceptance of the regional bands by the "new shaggers".

Revival: 1980s 

In the 1980s, beach music enjoyed a major revival in the Carolinas, thanks largely to the formation of a loose-knit organization known as The Society of Stranders (SOS). Originally intended as a relatively small social gathering of shag enthusiasts, "beach diggers" and former lifeguards meeting yearly in the Ocean Drive section of North Myrtle Beach, S.O.S. quickly grew to become a major Spring event.
At around the same time, a fanzine called It Will Stand (from the song of that name by The Showmen) began to delve into the history of beach music. Concurrent with the new enthusiasm for the shag, and an increased emphasis on the roots of the music came a period of revival for many of the beach bands that had come to prominence in the 1960s. In addition to these groups, younger artists began to emerge, either as members of established groups, or with groups of their own. Dedicated beach music charts began to appear, tracking the musical tastes of shaggers and other aficionados of the genre. The number of regional radio stations playing beach music began to increase substantially.


In 1981, Virginia entrepreneur John Aragona sponsored the first Beach Music Awards show at the Convention Center in Myrtle Beach. He would sponsor and produce two more TV Specials over the next several years. In the late 1980s interest in Beach Music was revived and expanded. On November 19, 1988, live from Reynolds Coliseum, on the campus of North Carolina State University, "The Third Annual Beach Music Awards" was videotaped by Creative Center, a Los Angeles based TV production company. The Awards show featured 20 of Beach music's stars and groups, ten Los Angeles based dancers, 20 professional shag dancers, and a twenty-piece back-up band, performing 50 of beach music hits.
The 3rd Annual Beach Music Awards TV Special was produced by Ron Dunn and Susan B. Donovan. Ron Dunn, DGA, served as director and writer, along with Susan B. Donovan (choreographer), and the show's executive producer, John X. Aragona. One of the key factors was a new song by O.C. Smith, "Brenda", written and produced by Charles Wallert. "Brenda" was on the national Billboard charts for three months and became the number one beach music song for two years. "Brenda" was nominated for six Awards and won five at the Third Annual Beach Music Awards. The telecasts of the Beach Music Awards in the 1990s (the footage appears in TV shows currently being broadcast) brought new awareness to the wide appeal of this music. New songs that were also national hits became popular in the beach music markets. Aragona spent more than 30 years promoting beach music.


These shows set the stage for the CAMMY Awards show, first held at Salisbury, North Carolina in 1995. The shows soon moved to Charlotte and then to North Myrtle Beach, South Carolina, where they are still an annual event under their new name, The Carolina Beach Music Awards (CBMA). The CAMMY (CBMA) show has turned into a five-day long showcase and party for the fans and the bands, with shows all along the strip in NMB. It culminates in a show at the Alabama Theatre. Chuck Jackson and William Bell were the national stars featured in 2009, backed by the Craig Woolard Band and the Band of Oz respectively.
The best of beach music from the early decades, from both national and regional artists, is known today as "classic beach". However, there is more to beach music than just the oldies. New recordings in this style are being produced regularly as part of the regional music industry in the Southeastern United States. While the terms "beach music" and "Carolina beach music" are still used, the increasing popularity of the shag has led to it sometimes being identified as "shag music". Many websites have lately begun to refer to this music as "beach & shag"

AUSTRALLIAN MUSIC

 AUSTRALLIAN MUSIC 


For much of its history, Australia's bush music belonged to an oral and folkloric tradition, and was only later published in print in volumes such as Banjo Paterson'sOld Bush Songs, in the 1890s. The distinctive themes and origins of Australia's "bush music" or "bush band music" can be traced to the songs sung by the convicts who were sent to Australia during the early period of the British colonisation, beginning in 1788. Early Australian ballads sing of the harsh ways of life of the epoch and of such people and events as bushrangers, swagmen, drovers, stockmen and shearers. Convict and bushranger verses often railed against government tyranny. Classic bush songs on such themes include: The Wild Colonial Boy, Click Go The Shears, The Eumeralla Shore, The Drover's Dream, The Queensland Drover, The Dying Stockman and Moreton Bay. 
Later themes which endure to the present include the experiences of war, of droughts and flooding rains, of Aboriginality and of the railways and trucking routes which link Australia's vast distances. Isolation and loneliness of life in the Australian bush has been another theme.
Waltzing Matilda, often regarded as Australia's unofficial National anthem, is a quintessential Australian folk song, influenced by Celtic folk ballads. Country and folk artists such as Tex Morton, Slim Dusty, Rolf Harris, The Bushwackers, John Williamson, and John Schumann of the band Redgum have continued to record and popularise the old bush ballads of Australia through the 20th and into the 21st century – and contemporary artists including Sara Storer and Lee Kernaghan draw heavily on this heritage.
Australia has a unique tradition of folk music, with origins in both the indigenous music traditions of the original Australian inhabitants, as well as the introduced folk music (including sea shanties) of 18th and 19th century Europe. Celtic, English, German and Scandinavian folk traditions predominated in this first wave of European immigrant music. The Australian tradition is, in this sense, related to the traditions of other countries with similar ethnic, historical and political origins, such as New Zealand, Canada, and the United States. The Australian indigenous tradition brought to this mix novel elements, including new instruments, some of which are now internationally familiar, such as the didgeridoo of Northern Australia.
A number of British singers have spent periods in Australia and have included Australian material in their repertoires, e.g. A. L. Lloyd, Martin Wyndham-Read andEric Bogle.

AUSTRALLIAN POPULAR MUSIC  

Australia has a long tradition of country music, which has developed a style quite distinct from its US counterpart. The early roots of Australian country are related to folk traditions of Ireland, England, Scotland and many diverse nations. "Botany Bay" from the late 19th century is one example. Waltzing Matilda, often regarded by foreigners as Australia's unofficial national anthem, is a quintessential Australian country song, influenced more by Celtic folk ballads than by American Country and Western music. This strain of Australian country music, with lyrics focusing on strictly Australian subjects, is generally known as "bush music" or "bush band music." The most successful Australian bush band is Melbourne's The Bushwackers, active since the early 1970s.Another, more Americanized form of Australian country music was pioneered in the 1930s by such recording artists as Tex Morton, and later popularized by Slim Dusty, best remembered for his 1957 song "A Pub With No Beer". Dusty married singer-songwriter Joy McKean in 1951 and went on to become Australia's biggest selling domestic music artist with more than 7 million record sales.^[11] British-born country singer and yodeller, Frank Ifield, was one of the first Australian post-war performers to gain widespread international recognition. After returning to the UK in 1959 Ifield was successful in the early 1960s, becoming the first performer to have three consecutive number-one hits on the UK charts: "I Remember You", "Lovesick Blues" (both 1962) and "The Wayward Wind" (1963).^[12] "I Remember You" was also a Top 5 hit in the US.^[13] Australian country artists including Olivia Newton-John and Keith Urban have achieved considerable success in the USA. In recent years local contemporary country music, featuring much crossover with popular music, had enjoyed considerable popularity in Australia; notable musicians of this genre include David Hudson, John Williamson, Gina Jeffreys, Lee Kernaghan, Troy Cassar-Daley, Sara Storer, Felicity Urquhart and Kasey Chambers. Others influenced by the genre include Nick Cave, Paul Kelly, The John Butler Trio, Jagged Stone and The Waifs.Popular Australian country songs include Click Go the Shears (Traditional), Lights on the Hill (1973), I Honestly Love You (1974), True Blue (1981), and  NOT ..


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CARUBUAN MUSIC

Caribbean   MUSIC

Relaxing music relaxes your heart. Musicians' rhythms in the Caribbean seem to match the baseline of waves splashing onto the shore, calming any traveler within earshot of both. As part of the "Perfect Caribbean" guide that appears in the November 2009 issue of ISLANDS magazine, readers and editors point to this Caribbean music as their favorites.Aruba: Steel PanFans of steel pan flock to hear artists including "Pan Man" Lee Connor play the iconic steel drums on Aruba.Bay Islands: Punta RockFrom his native Belize, Andy Palacio put punta rock on the Caribbean map as the music spread to places including Roatan and the Bay Islands. He helped champion Garifuna culture -- descended from Africa, Arawak and Carib people -- all the way to his death in 2008. Garifuna bands continue his legacy as they weave African drumbeats with more expected island rhthyms.

Dominican Republic: Meringue


Everyone knows that while you're vacationing in the Dominican Republic, you can't dance without meringue music.
Jamaica: Reggae

The natural Caribbean harmony may sound the sweetest on Jamaica, with the easy beats of reggae soaking into the island. "Negril buzzes as reggae pumps," says reader John Comfort of South Carolina. "Mellow mood, enticing mystery, and colorful unity of ocean and land lead to a mystical enchantment." And reader Andrew Wilkins went so far as to compose an ode: "Cool sand between my toes and stars so close you can touch. Locals light the bonfire as my eyes grow heavy with the rhythms of irie." Reggae relaxation has spread across the islands as the Caribbean soundtrack, whether during a set with Bankie Banx on Anguilla or on the radio on St. Croix.


Martinique: Zouk


Travelers know that other islands beyond Jamaica have signature vibes too, especially when there's a need to pick up the beat. On Martinique, you can't have a party without the party music of zouk.

Trinidad: Soca

Soca enlivens the Carnival on Trinidad like nothing else. It too has spread, with one reader pointing us to a video of St. Lucian soca artist Herb Black doing a bouncy singalong of the song "Suzette." "Somebody in de crowd say her name loud! SUUUUZZEEEEEETTE!"Contest: Win a Caribbean Trip!Don't see your favorite Caribbean spot listed here? Let us know what we missed -- and you could win a free resort stay. Enter our new "Caribbean Favorites" contest.

Barbados Music: Calypso

The derivation of calypso rhythms can be traced back to the arrival of the first African slaves to Barbados and other Caribbean islands in the seventeenth century. The artform, which was developed in Trinidad, combines the skills of story-telling, singing and instrument making, and has since been influenced by European, North American and other Caribbean cultures. Calypso is a unique form of music that is an integral part of the Barbadian cultural landscape.The calypso usually involves some social commentary, typically a humorous satire on social and political events, with an infectious beat. Other calypsos are strictly for "wuking up"!Calypso became highly organized in Barbados in 1974, with the revival of the Crop Over Festival. Today, calypso is an integral part of the festival, with the Pic-O-De-Crop Calypso Competition being one of the most popular events. During Crop Over, several calypso tents (organized groups of calypsonians) perform a few days weekly. Eighteen of these calypsonians go forward to the semi-finals of the competition, with eight advancing to the finals to challenge the previous year's monarch.The youth of Barbados are also involved in calypso, with several children (under 16 years) taking part in the Junior Calypso Monarch competition, which serves as a training ground for the calypsonians of the future. Based on the talent and enthusiasm of these youngsters, the future of calypso in Barbados looks very bright.

Music fusion

Since both reggae from Jamaica and soca from Trinidad are very popular in Barbados, a fusion of the two was always likely. This fusion came in the form of ragga-soca - a rhythm that is faster than reggae but slower than up-tempo soca.
Ringbang is a fusion of all the music of the Caribbean with the focus is on the rhythm rather than the melody. Since it's creation in 1994, ringbang has grown in popularity in Barbados and throughout the Caribbean.