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Music has been integral toEgyptian culture since antiquity.Egyptian music had a substantial influence on the development ofancient Greek music and, via the Greeks, was important to earlyEuropean music well into the Middle Ages.
Due to the millennia of Egypt's dominance over its neighbors, Egyptian culture, including music and musical instruments, was very influential in the surrounding regions; for instance, the instruments described in theBible as having been played by the ancientHebrews were all Egyptian instruments, as established byEgyptian archaeology.
Modern Egyptian music is a prime core of Middle Eastern and Oriental music, owing to the huge popularity of the Egyptian cinema and music industries, owing to Egypt's political influence on neighboring countries, and owing to Egypt producing the region's most accomplished musicians and composers, especially in the 20th century.[1]
The tonal structure of the East's music is defined by themaqamat, loosely similar to the Western modes, while rhythm in the East is governed by theiqa'at, standard rhythmic modes formed by combinations of accented and unaccented beats and rests.
The ancientEgyptians credited the goddessBat and the godIhy with the invention ofmusic. The cult of Bat was eventually syncretised into that ofHathor because both were depicted as cows. Hathor's music was believed to have been used byOsiris as part of his effort to civilise the world. The lion-goddessBastet was also considered a goddess of music inancient Egypt.
Inprehistoric Egypt, music and chanting were commonly used in magic and rituals. Rhythms during this time were unvaried and music served to create rhythm. Small shells were used as whistles.[2]: 26–30
During the predynastic period of Egyptian history, funerary chants continued to play an important role in Egyptian religion and were accompanied byclappers or aflute. Despite the lack of physical evidence in some cases, Egyptologists theorise that the development of certain instruments known of the Old Kingdom period, such as the end-blown flute, took place during this time.[2]: 33–34
The evidence for instruments played is more securely attested in theOld Kingdom whenarched harps,flutes anddouble clarinets were played.[citation needed]Percussion instruments andlutes were added to orchestras by theMiddle Kingdom.Cymbals frequently accompanied music and dance, much as they still do inEgypt today.
Early Middle Eastern music was influenced by Byzantine and Roman forms, which were themselves heavily influenced by earlier Greek, Semitic, andAncient Egyptian music.
Egyptians in Medieval Cairo believed that music exercised "too powerful an effect upon the passions, and leading men into gaiety, dissipation and vice." However, Egyptians generally were very fond of music. Though, according to E.W. Lane, no "man of sense" would ever become a musician, music was a key part of society. Tradesmen of every occupation used music during work and schools taught the Quran by chanting.[3]: 359
The music of Medieval Egypt was derived from Ancient Egyptian and Byzantine traditions. Lane said that "the most remarkable peculiarity of the Arabic system of music is the division of tones into thirds," although today Western musicologists prefer to say that Arabic music's tones are divided into quarters. The songs of this period were similar in sound and simple, within a small range of tones. Egyptian song, though simple in form, is embellished by the singer. Distinct enunciation and a quavering voice are also characteristics of Egyptian singing.[3]: 360–361
Male professional musicians during this period were called Alateeyeh (plural), or Alatee (singular), which means "a player upon an instrument". However, this name applies to both vocalists as well as instrumentalists. This position was considered disreputable and lowly. However, musicians found work singing or playing at parties to entertain the company. They generally made three shillings a night, but earned more by the guests' givings.
Female professional musicians were called Awalim (pl) or Al’meh, which means a learned female. These singers were often hired on the occasion of a celebration in the harem of a wealthy person. They were not with the harem, but in an elevated room that was concealed by a screen so as not to be seen by either the harem or the master of the house. The female Awalim were more highly paid than male performers and more highly regarded than the Alateeyeh as well. Lane relates an instance of a female performer who so enraptured her audience that she earned up to fifty guineas for one night's performance from the guests and host, themselves not considered wealthy.
In the second half of the 19th century, the Egyptian folk street music bandHasaballah, a genre of popular improvisational brass bandfolk music emerged, initiated byclarinettist Mohamed Hasaballah and his band based on the traditional music of the Egyptians, and is shortly called Hasaballah, a band playing in Cairo's music and entertainment quarter on Mohammed Ali Street. The typical line-up oftrumpet,trombone, bass andsnare drums, was popular, such as at family events, for well over a century, and is still played.[4][5]
Egyptian music began to be recorded as early as in the 1910s. The Egyptians have always expressed themselves and daily lives and even struggles with their music and traditional folk music. By the 1930s, Egypt's classical musical tradition was already thriving, centered on the city of Cairo. In general, modern Egyptian music blends its rich indigenous traditions, with some western elements that helped create Egyptian pop music.
Since the end of World War I, some of the Middle East's biggest musical stars have beenEgyptian. Contemporary classical Egyptian music traces its beginnings to the creative work of traditiondal classical Egyptian musicians Abdu El Hamouly, Almaz, and Mahmud Osman, as well as the later work of the 20th century's most important Egyptian composers and singers, likeSayed Darwish,Umm Kulthum,Mohammed Abdel Wahab,Abdel Halim Hafez, andBaligh Hamdy. Most of these stars, includingUmm Kulthum,Abdel Halim,Fawzi and many others were part of the traditional Egyptian music. Some, like Abd el-Halim Hafez, were associated with the Egyptian nationalist movement from 1952 onward.[citation needed]
Cairo-bornFatma Said was the first Egyptian soprano to sing at theTeatro alla Scala inMilan.[6] and from 2016 to 2018 took part inBBC Radio 3New Generation Artists scheme.[7]
Shaabi ("Of the people") is the most popular musical genre in Egypt.
It is a form of popular working-class music which evolved fromEgyptian Baladi ("Of the country") in the second half of the 20th century, it's the most common type of music and is usually heard in every day streets, weddings, festivals and transport.
A recent offshoot from Shaabi; Mahraganat ("(Of) Festivals") is a more spunky and loud subgenre that uses more electronic and hip-hop elements, with heavy auto-tune. It has its roots in the mid-2000s but was massively popularized in 2011, amidst theEgyptian revolution.
Due to its impoverished young male appeal and history, it tends to be more outspokenly political than Shaabi.
Western classical music was introduced to Egypt, and, in the middle of the 18th century, instruments such as the piano and violin were gradually adopted by Egyptians. Opera also became increasingly popular during the 18th century, andGiuseppe Verdi's Egyptian-themedAida was premiered in Cairo on December 24, 1871.
By the early 20th century, the first generation ofEgyptian composers, includingYusef Greiss,Abu Bakr Khairat, andHasan Rashid, began writing for Western instruments. The second generation of Egyptian composers included notable artists such asGamal Abdelrahim. Representative composers of the third generation areAhmed El-Saedi andRageh Daoud. In the early 21st century, even fourth generation composers such asMohamed Abdelwahab Abdelfattah (of the Cairo Conservatory) have gained international attention.
Religious music remains an essential part of traditionalSufi Muslim andCoptic Christian celebrations calledmulids. Mulids are held in Egypt to celebrate thesaint of a particularchurch or an exalted local Muslim figure.Muslim mulids are related to theSufizikr ritual. The Egyptianflute, called theney, is commonly played at mulids. The liturgical music of theAlexandrian Rite also constitutes an important element of Egyptian music and is said to have preserved many features of ancient Egyptian music.
Egyptianfolk music, including the traditionalSufidhikr rituals in Egypt, are the closest contemporary music genre toancient Egyptian music, having preserved many of its features, rhythms, and instruments.[8][9]
The 20th century has seenCairo become associated with aroots revival. Musicians from across Egypt are keeping folk traditions alive, such as those of ruralEgyptians (fellahin), theSaii'da, and to a lesser extent minorities like theSiwa people, theEgyptian Romani, theSinawis and theNubians. Mixtures of folk and pop have also risen from the Cairo hit factory.
Since theNasser era, Egyptianpop music has become increasingly important in Egyptian culture, particularly among the large youth population of Egypt. Egyptian folk music continues to be played during weddings and other traditional festivities. In the last quarter of the 20th century, Egyptian music was a way to communicatesocial andclass issues. Among some of the most popular Egyptian pop singers today areSherine Abdel-Wahab,Mohamed Mounir, andAmr Diab.
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Sawahli (coastal) music is a type of popular Egyptian music from the country's northern coast, and is based around ancient Egyptian instrumentals, mainly thesimsimiyya, which is an indigenous Egyptian stringed instrument that has its roots in ancient Egypt, it---the simsimiyya---was probably introduced to the country's northern coast from the Nile valley in the 19th century by Egyptian workers in theSuez Canal. Well known Egyptian bands that feature the simsimiyya as a main instrument includeel-Tanboura, which uses other ancient Egyptian instruments.
Egyptian musicians fromUpper Egypt play a form of folk music calledṢa‘īdi which originates from Upper Egypt. Metqal Qenawi's Les Musiciens du Nil (Musicians of the Nile; who became known to Alain Weber in 1975), are the most popular Sa‘īdi group, and were chosen by the government to represent Egyptian folk music abroad. They spent over three decades touring Europe performing at various festivals and musical events and in 1983 after their performance in the World of Music and Dance Festival, they were signed to Peter Gabriel's label Real World-Carolina and went on to feature on his Album Passion. Other performers include Shoukoukou, Ahmad Ismail, Omar Gharzawi, Sohar Magdy and Ahmed Megahid.
InEgypt,Nubians are native to southern part ofAswan, though some live inCairo,Alexandria and other cities. Nubian folk music can still be heard, but migration and intercultural contact with Egyptian and other musical genres have produced new innovations.Ali Hassan Kuban's efforts had made him a regular on theworld music scene, whileMohamed Mounir's social criticism and sophisticated pop have made him a star among Nubians, Egyptians, and other people worldwide.Ahmed Mounib,Mohamed Mounir's mentor, was by far the most notable Nubian singer to hit the Egyptian music scene, singing in bothEgyptian Arabic as well as in his nativeNobiin.Hamza El Din was another popular Nubian Egyptian artist, well known on the world music scene and has collaborated with theKronos Quartet.
A typical early 20th century Egyptian ensemble comprising the Oud, qanun, violin, ney, and cello.
Many of the modern day instruments, both in the East and the West, trace their roots back to ancient Egypt, and many ancient Egyptian instruments are still used in Egypt today, such as thedarbuka, thesimsimiyya, the Egyptianney, among other instruments.
During the Abbasid and Ottoman dynasty Egypt was one of the main musical hubs in the middle east and therefore after the fall of the Ottoman Empire in 1923 Egypt became the capital of music in the Arabic-speaking world where classical instruments such as theoud,qanun, andney were widely used. The typical takht (ensemble) consisted of an Oud player, qanun player, ney player and violin player. The takht (literally meaning a sofa) was the most common form of ensembles in the early 20th century before the adoption of more orchestral instruments which were introduced by composers such asMohamed El Qasabgi,Riad El Sunbati andMohammed Abdel Wahab.
One of the most respected earlyelectronic music composers,Halim El-Dabh, is an Egyptian. Active at the same time, or perhaps earlier than, the French electronic pioneers from theStudio d’Essai, he is one of, if not the, earliest composer of purely electronic music. In 1944 he composed the earliest known work oftape music, ormusique concrète, calledThe Expression of Zar, which he composed in Egypt, while still a student in Cairo, by capturing sounds from the streets of Egypt on a wire recorder.
The Egyptianelectronic music scene has gained a mainstream foothold in the forms oftechno,trance, and dance pop DJs such asAly & Fila. In the 2010s,Mahraganat music, an Egyptian form of electronic music which often contains political lyrics, gained popularity both inside and outside Egypt.[10]
In the 20th and early 21st centuries, interest in the music of the pharaonic/ancient Egyptian period began to grow, inspired by the research of such foreign-born musicologists asHans Hickmann, who lived and worked in Egypt. By the early 21st century, Egyptian musicians and musicologists led by the Egyptian musicology professor Khairy el-Malt atHelwan University inCairo had begun to reconstruct musical instruments of ancient Egypt, a project that is ongoing.[11]
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 Turkish-Egyptian Dance Troupe Al Rakasaat's "Alexandria" Choreographed by Karen Custer Thurston |
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