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Kurdish classical music (Kurdish:میوزیکی کلاسیکی کوردی,romanized: Mîwzîkî klasîkî Kurdî,Kurdish pronunciation:[mjuːzɪkɪklaːsɪkɪkoːrdɪ]; or مۆسیقای کلاسیکی کوردی,Mosîqay kilasîkî Kurdî) is the traditional art music of theKurdish people, developed across various regions of theMiddle East. It is rooted in oral traditions and typically features melodic modes,poeticlyrics, andtraditional instruments.[1]
The Kurdishclassical music formed itself within the general cultural and musical traditions of the Middle East, which creates a continuity of musical practices that have historically and regionally influenced the area. Some scholars describe it as a synthesis of broader cultural elements known as "great traditions," with local practices among communities, or which they call "little traditions," through the conceptual lens offered by anthropologistRobert Redfield.
Kurdish music has roots in thepre-Islamic era, marked by the emergence of modal melodic structures. It later developed further under various Islamic empires, incorporating diverse external influences.[2]
Kurdish classical music features a range of traditional instruments that shape its distinctive sound. Common instruments include theDaf, a framedrum used for complex rhythmic patterns;[3][4]Dumbek (tambourine), a goblet-shaped hand drum;Bağlama, a long-neckedlute; andNay, an end-blown flute;Oud, a fretless lute with a deep tone, is also used for melodic accompaniment in Kurdish classical music.[5] These instruments often accompany vocal performances, which play a central role in the classical tradition.
Kurdish classical music includes a variety ofgenres that reflect thecultural and historical diversity of Kurdish communities. Major categories includefolk music,religious music, andinstrumental compositions, each serving distinct social and artistic functions.
Folk music constitutes a core element of Kurdish musical expression, with common themes such aslove, displacement, and social struggle. Traditional forms are preserved primarily by older generations, especially through the practice ofdengbêjî, a form of unaccompaniedvocalstorytelling performed bydengbêjs (bards).[6][7] These performances typically recount oral histories,legends, andhistorical events. In recent years, younger performers have introduced modern musical influences, resulting in contemporary variations of traditional folk music.[8][9]
Religious music holds a central place in thespiritual practices of certain Kurdish communities, including theAhl-e Haqq (Yarsanism).[a] It is closely tied to ritual and devotional contexts and often features thetanbur, a long-necked string instrument. The repertoire includes poetic compositions known asnazms, which convey religious teachings and themes. Modern interpretations may emphasize instrumental improvisation and new compositional styles.[10]
Religion largely contributes to the Kurdish culture and social identity.Islam is the major religion amongst Kurds, while another interaction between religious and cultural traditions is sometimes present. In many villages, religious stories have served to keep alive theKurdish language and oral traditions.[11]
Instrumental music is another important aspect of Kurdish classical traditions. It typically involves traditional instruments such as theqanun, a type ofzither, and thetanbur. These compositions may be performed independently or as accompaniment to vocal works, and they highlight both rhythmic complexity and melodic structure.[12][13]
| Name | Image | Years active |
|---|---|---|
| Ali Merdan[14] |  | 1920s–1981 |
| Mihemed Şêxo | .jpg) | 1960s–1987 |
| Hassan Zirak[14] |  | 1940s–1972 |
| Ayşe Şan[15] |  | 1956–1996 |
| Mazhar Khaleqi[16] |  | 1950s–1987 |
| Mohammad Mamle | 1950s–1990s | |
| Shahram Nazeri[17] |  | 1958–present |
| Nasser Razazi[18] |  | 1976–present |
| Merziye Feriqi[19] |  | 1994–2005 |
| Qadir Dilan[20] |  | 1950–1999 |
| Aram Tigran[21] |  | 1953–2009 |
| Ciwan Haco[22] |  | 1970–present |
| Adnan Karim[23] |  | 1979–present |
| Karapetê Xaço[24] | 1930s–1990s | |
| Mihemmed Arif Cizîrî | 1940s–1980s | |
| Şakiro[25] | 1960s–1990s |
{{cite book}}: CS1 maint: multiple names: authors list (link)