Assyrian folk-pop music

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Assyrian folk/pop music, also known as Assyrian folk-pop or modern Syriac music (Syriac: ܡܘܣܝܩܝ ܣܦܝܢܘܬܐ ܐܬܘܪܝܬܐ/ܣܘܪܝܝܬܐ), is the musical style of the Assyrian people derived from traditional music that includes a broad range of stylistic varieties, which would also encompass fusions of Western genres such as pop, electronic, Latin, jazz and/or classical music, with a melodic basis of Assyrian folk.

Background

Assyrian folk music claims to be the descendant of the music of their ancient

Urmian dialect and tribal-folk music tend to contain Tyari dialects. Themes tend to focus on longing
, melancholy, strife and love issues. Assyrian songs are usually lengthy, tending to be around 5 minutes long on average.

Composition

Assyrian folk can also be found in traditional

natural minor scale) is somewhat rare, although it has been used more in the past. Some songs by Evin Agassi at the turn of the millennium had profusely used the Andalusian cadence due to influence of Latin pop
at the time.

Rhythm

Assyrian dance music (particularly khigga) has a rhythm or beat that is similar to a

violins.[1]

History

Folkloric period

Assyrian folk music is omnipresent in the village scene. A "musician" is not necessarily a professional, whoever can sing in any manner is considered a "singer". Most of the time, music is learned by ear and passed down as an oral tradition. Village music may be categorized, basically, into four groups: local secular music not related to specific occasions; functional music; religious music and hymns; and music adopted from other areas.[2]

Here are a few types of tribal Assyrian Music that has survived to this day, especially in the Assyrian villages and towns of northern Iraq, southeastern Turkey, northwestern Iran and northeastern Syria:

  • Raweh: An ancient melodic chant which features wailing echoed voices, usually of a male. Raweh is reminiscent of how one's voice echoes in a valley between mountains.
  • Zurna O Dawolah: These are two traditional music instruments, literally meaning a drum and wind-pipe (or flute). They are played together, either with or without singing in many ceremonies such as weddings, welcoming and, albeit rarely, funerals.
  • Diwaneh: Sung in gatherings and meetings; lyrics cover aspects of life such as, working in the fields, persecution, suffering, religion.
  • Lilyana: Wedding songs usually sung by women only, especially for the bride before leaving her home to get married. Also sung for the bridegroom the day before his wedding by his family and relatives.
  • Tanbur: Another tribal music instrument, a string instrument with long neck, originated in ancient Assyria, discovered being depicted on carving from South Iraq from Ur to Akkad and Ashur. Albert Rouel Tamraz was a famous Assyrian singer from Iraq who played this instrument and sung many folkloric songs accompanied by hand-drum (tabla).

It was in the Assyrian homeland north of Mosul that people started to write the modern Syriac vernacular, more than two hundred years before the earliest British missionaries, although the earliest records of the Syriac language date from 5th century BC Achaemenid Assyria. The earliest dated text is a poem written in 1591. This makes early Neo-Syriac literature a contemporary of Jewish Neo-Aramaic literature from roughly the same region, dating back to the late 16th century.

The Neo-Syriac literature which existed before the arrival of British and American missionaries consisted mainly of poetry. This poetry can be divided into three categories: stanzaic hymns, dispute poems, and drinking songs. Of these three categories, only the hymns, which in Neo-Syriac are termed duriky[

Classical Syriac madrase, can usually be traced back to individual authors.[3]

Modern Assyrian Music

Assyrian Australian band Azadoota has incorporated both Assyrian folk rhythm and style with Latin and rock flavour

World War I, and the resulting Assyrian genocide, drove many Assyrians out from the mountainous region of Hakkari, southeastern Turkey to the regions of northern Iraq and northeastern Syria. World War II brought them in direct contact with the west, especially the British Army in Iraq, Russians in Urmia and the French in Syria. The contact with the British caused the most influence on modern Assyrian music, especially the period after the independence of Iraq in 1932, which brought British oil companies into Iraq and they employed many by now English speaking Assyrians. At this time they came in contact with Western music and instruments. Assyrian youth started picking up and playing these new instruments after seeing and hearing the British playing. Assyrian youths started to find new bands and to play in parties, picnics and other functions for both Assyrians and others.

Jameil Bashir an Assyrian Iraqi oud and violin soloist. Singing in the background with Albert are Biba and Sargon Gabriel, two singers who would later become notable figures in modern Assyrian music in the United States. Contemporaneously, Evin Agassi was also making music in Iran
during the 1950s and 1960s.

From the 1970s and onward, Assyrian music started to incorporate elements from Western

electric guitars. Despite rock's unpopularity, there exists an Assyrian-Armenian metal band called Melechesh, which has extensive Assyrian-Mesopotamian influences both lyrically and instrumentally.[4]

It is customary for modern Assyrian artists to generally sing in Iraqi Koine, or "Standard Assyrian" (which is based on the prestigious

Arab influence, some Assyrian singers may incorporate mawwal
in their music.

List of Assyrian singers

See also

References

  1. ^ Subhi Anwar Rashid, The History of Musical Instruments in Old Iraq. Pg 180-181
  2. ^ Journalism: A 140-Year Experience”, Journal of the Assyrian Academic Society, Vol. VII, No. 2, 1993. pp. 17-8
  3. H. L. Murre-van den Berg
  4. ^ Rimmer, J. Ancient musical Instruments of western Asia in the British Museum, London 1969 p. 39.f.pl.21, 17,18,199
  5. ^ Solomon, Zomaya S. (1997). Functional and other exotic sentences in Assyrian Aramaic, Journal of Assyrian Academic Studies, Xi/2:44-69.
  6. ^ "English :: Charming Voice of the Middle East: Fairuz". Retrieved 17 April 2023.

External links

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