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Tunisia is aNorth African country with a predominantly Arabic-speaking population. The country is best known formalouf, a kind of music imported fromAndalusia after the Moors expulsion in the 15th century. Though in its modern form, malouf is likely very dissimilar to any music played more than four centuries ago, it does have its roots in Spain and Portugal, and is closely related to genres with a similar history throughout North Africa, including malouf's Libyan cousin, Algeriangharnati and Moroccanala orAndalusi. During the Ottoman era, malouf was influenced by Turkish music. However, Tunisian repertoires, styles and also instruments remain distinctive – theʻūd tūnsī is an emblematic case. This is a close relative of the 'uds associated with Algeria and also Morocco.[1]
20th century musicians from Tunisia includeAnouar Brahem, an oud player,Jasser Haj Youssef, a composer and a violin player, andEl Azifet, a rare all-female orchestra, as well as well-known vocalistRaoul Journo, singer and oud playerDhafer Youssef, singer, guitarist and lutenistNabil Khemir,Lotfi Bouchnak,Khemaïs Tarnane,Saliha,Saleh Mehdi,Ali Riahi,Hedi Jouini,Fethia Khairi,Cheikh El Afrit,Oulaya andNaâma.
In 1982, the pop-rock composer and singerF.R. David (born Elli Robert Fitoussi) peaked the worldwide charts with his songWords (don't come easy).
Popular singers includeNabiha Karaouli,Sonia Mbarek,Saber Rebaï,Soufia Sedik,Amina Fakhet,Nawal Ghachem,Latifa,Emel Mathlouthi and the lateThekra.
21st century alternative music groups includeRedStar,JenJoon,Neshez,Zemeken, Aspirine,Kerkennah,Myrath,Ymyrgar andCheckpoint 303. (seeTunisian underground music)
Modernmusic festivals in Tunisia includeTabarka Jazz Festival,Testour'sArab Andalusian Music Festival and theSahara Festival inDouz.
Malouf is played by small orchestras, consisting of violins, drums, sitars and flutes. Modern malouf has some elements ofBerber music in therhythms, but is seen as a successor to the cultural heights reached by Muslim Andalusia. Malouf has been called "an emblem of (Tunisian) national identity"[1]. Nevertheless, malouf can not compete commercially with popular music, much of it Egyptian, and it has only survived because of the efforts of the Tunisian government and a number of private individuals. Malouf is still performed in public, especially atweddings andcircumcision ceremonies, though recordings are relatively rare. The termmalouf translates asfamiliar orcustomary.
BaronRodolphe d'Erlanger is an important figure of modern Tunisian music. He collected the rules and history of malouf, which filled six volumes, and set upThe Rachidia, an importantconservatory which is still in use.
The lyrics of Malouf are based on theqasidah, a form of classical Arabic poetry, and comes in many forms, including themuwashshah, which abandons many of qasidah's rules,shgul, a very traditional form, andzajal, a modern genre with a unique format.
The most important structural element of malouf, however, is theAndalusi nuba, a two-part suite in a singlemaqam (an Arab mode organized by quarter-tones), which lasts about an hour. Anuba is a musical form introduced to North Africa with the migration of Muslim inhabitants of Spain in the 13 and 14th Century. It is divided to many parts :Isstifta7Msader which are instrumental pieces Then comeAttouq and theSilsla which introduce to the poems. The sung pieces begin with theBtaihia: A set of poem composed on the Main mode of the Nuba (there are several Modes in Tunisian musicThaiilramlSikah tounssiaIspahanIsbaaïn) on a heavily syncopated rhythm calledBtaiHi. Then comeal barawil,Al khfeiifAl Akhtam which close the nuba. The rhythms grow fast from a component to anthem of the Nuba. Each component of a Nouba has its specific rhythm which are the same in all the 13 Nouba known today.
According to legend, a distinct nuba once existed for every day, holiday and other event, though only thirteen remain. Partway through a nuba, an improvisational section was played in the maqam of the following day to ready the audience for the next performance.
The earliest roots of the Malouf can be traced to a court musician from Baghdad namedZiryab. He was expelled from the city in 830, and traveled west, stopping finally atKairouan, the first Muslim city of great power in Africa. The city was a center for North African (Maghebian) culture and was the capital of theAghlabite dynasty. Ziryab crossed the Maghreb and then enteredCordoba during a period of cultural innovation among the diverse inhabitants of the region. He became a court musician again and used influences from the local area, the Maghreb, and his native Middle East to form a distinctively Andalusian style.
Beginning in the 13th century, Muslims fleeing persecution by Christians in what is now Spain and Portugal settled in cities across North Africa, including Tunis, bringing with them their music. Tunisian Malouf, and its closely related cousin in Libya, were later influenced by Ottoman music. This process peaked in the middle of the 18th century, when theBey of Tunisia,Muhammad al-Rashid, a musician, used Turkish-style instrumental compositions in his work and firmly set the structure of the Nuba. Though his system has evolved considerably, most of the instrumental sections of modern nubat are derived from al-Rashid.
After the fall of the Ottoman Empire, Tunisia became a French protectorate and the declining Malouf was revitalized. BaronRodolphe d'Erlanger, a French-naturalized Bavarian living near Tunis, commission a collection of ancient works, working withAli al-Darwish ofAleppo. Al-Darwish and d'Erlanger's pioneering study of Tunisian music was presented at theInternational Congress of Arabic Music, held in 1932. Baron Rodolphe d'Erlanger died only a few months after the congress, which revolutionized Arab music across the world. In Tunisia, the meeting inspiredThe Rachidia, which was formed in 1934 to preserve themalouf. The Rachidia undertook some alterations, revising lyrics that were considered profane, and also constructed two performance spaces in the old city of Tunis. The Institute also helped to transition Malouf from being performed by folk ensembles with only a few instruments (including'ud,tar,darbuka,rabab andbendir) to symphonic pieces inspired byWestern classical music and Egyptian ensembles.
The most influential such orchestra was called theRashidiyya Orchestra, led by violinistMuhammad Triki. Rashidiyya Orchestra used a large chorus as well ascontrabass,cello,violin,nay,qanun, and'ud sharqi, and followed the developing rules of Arab musical theory and notation. The thirteen surviving nubat were created during this time, distilled from the highly divergent folk forms still in use. Westernmusical notation was used; along with the popularization of recorded music, the use ofimprovisation quickly declined. These changes helped to popularize Malouf, though not without critics and gave the music a reputation as classicalart music.
After Tunisian independence in 1957, the country's first president,Habib Bourguiba, promoted the Malouf, recognizing its unifying potential. The then-director of the Rashidiyya Orchestra,Salah el-Mahdi, wrote the Tunisiannational anthem, and eventually also became the leader of the music department of theMinistry of Cultural Affairs. His musical theories became a major part of the Orchestra, as well as its successor,Institut Supérieur de Musique.
Purely Tunisian music with pop Tunisian touch andAndalusi nubah cover. Most popular mezwed singers are Hedi Habbouba, Salah Farzit, Habib el Khal,Samir Loussif, Hedi Donia, Faouzi Ben Gamra, Zina Gasriniya, Fatma Bousseha, Nour Chiba. Mezwed, or mezoued, is both an instrument and genre of music. The instrument is like that of a bagpipe, although it is made with goat skin. The music mezwed is based around the instrument with singers and a darbouka beat. The more modernized version has more modern instruments with the Mezoued.
Another authentic Tunisian genre, known as Salhi, can be heard on these tracks from 1931[2], some of which are sung by Ibrahim Ben Hadj Ahmed, and others by another singer called Ben Sassi. The style may be related toBerber music, and is just as ancient and authentic as a facet of the (Tunisian) national identity.
New genres of music inTunisia include Tunisian pop music, opera, electronic music, trip hop, hip hop, rap and metal music.
The most famous pop singers areManel Amara,Sabri Mosbah, Ruka, Asma Othmani,Imen Mehrzi,Ghada Maatouk.
The most famous rap and hip hop singers areBalti,JenJoon,Samara, Tchiggy, Hedi L’artiste, Raf, Amriano, Badboy 7low, Joujma, L'arabe, Arslén, Ferr, A.L.A,Akram Mag,Kafon,GGA,Klay BBJ,K2 Rhym,Master Sina,Mohamed Amine Hamzaoui,Psyco-M,Bendir Man,Si Lemhaf,Artmasta.
The most famous electronic and trip hop singers areEmel Mathlouthi,Ghalia Benali.
The most famous opera singer isHassen Doss.
There are a number of metal bands includingMyrath, Persona, Cartagena and Nawather who all playOriental Metal.
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