Music of Syria

Regarding the music of Syria, there are certain musical traditions and practices that have been present in Syria longer than others. There have been musical influences introduced into Syria through multiple eras of conquest and influences from surrounding cultures in modern-day Syria (as opposed to the region of Syria). Lying near Egypt and Israel, and connected to southern Europe by the Mediterranean, Syria became host to many distinct cultural musics through trade and route. The music present in Syria is related greatly to poetry, influenced greatly by the Bedouin nomadic tribes, the maqam system in Arabic classical music, as well as influenced greatly by the geopolitical movement and conflict in the Middle East. Syrian music generally has a singer who is accompanied by three or four instruments. The texture is usually thin but can become denser depending on the use of each instrument.

The classical music of Syria is part of the greater Arabic music world.

Characteristics of Syrian music

Syria borders the Mediterranean sea and is located in the Levant. This area has been culturally influenced by many conquests and geopolitical activity. There is an intersection of elements in Syrian music that give it a distinct sound as well as being a driving force in many of the music traditions found in Syria. These elements are:

the music being played predominantly as a monophonic texture;
In semi-Nomadic regions, Bedouin music is based on the Mizmar, mijwiz and rababah is popular. In 1990, the Higher Institute of Music in Damascus was established as a conservatory for both Western and for Arabic music.

Muwashshah

A typical Syrian classical genre is the Muwashshah that goes back to around the 9th or 10th century. Performed by a lead singer or a choir, it consists of a classical form of Arabic poetry set to music. It usually consists of a multi-lined strophic verse poem written in classical Arabic, mostly consisting of five stanzas, which alternates with a refrain with a running rhyme. The muwashshah is usually opened with one or two lines matching the second part of the poem in rhyme and meter. The Al-Thurath ensemble specializes in this genre.

The city of Aleppo in Northern Syria is considered to be the centre of muwashshah.thumb|A group of Syrian musicians from [[Aleppo|281x281px]]

Maqam

The classical music notation style of Syria is shared throughout the Arab world. This is known as maqam music which has first studies dating back to the 9nth century. Maqam'at (plural of maqam) were first theorized by al-Kindi between 801-873 and al-Farabi 870-950 where the music became more standardized. Ethnomusicologist Bruno Nettl describes Iqa'at as separated by order of stressed and unstressed patterns. Further, musicians will play a song that drifts from nonmetric (free time/metre) to metric (in a metre) and then change in its metre again depending on the song. And its style of chant, the Syrian chant which continues to be the liturgical music of some of the various Syrian Christians, is the oldest in the world.

There was formerly a distinctive tradition of Syrian Jewish religious music, which still flourishes in Syrian-Jewish communities around the world, such as New York City, Mexico City and Buenos Aires: see The Weekly Maqam, Baqashot and Pizmonim.

Much of the Syrian chant and other genres of Syrian music has been spread widely across the world due to the continual growth of the Syrian diaspora.

Music of refugees

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In contemporary times, Syria has become a country of great conflict. From this conflict has come a great diaspora of refugees leaving to find safety. Many have sought refuge in distant countries from their own, however, a number close to 622,000 Syrians are found in Jordan alone.

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As the diaspora has increased in recent times due to increasing conflict, neighboring countries have taken in many refugees and provided temporary housing in refugee camps. In the Zaatari refugee camp there are 79,000 people. From the displacement of their homes, Syrians have turned to music for the purpose of mourning and comfort. This has made Syrian traditions change in style while also becoming necessary to practice for the survival of culture and traditions as was/ is the case for Syriac chant. There is now Syrian music played throughout the world due to the historical diaspora and movement by the Syrian people.

As in other countries, modern Syrian music notably contrasts its folk music. It uses an orchestra of mostly European instruments with one lead vocalist and sometimes a backup chorus.

Syrian dances

One of the most popular dances in Syria is the Dabkeh, a folk dance combining circle dancing and line dancing formed from right to left and headed by a leader which alternates between facing the audience and other dancers. It is mostly performed at weddings and other joyous occasions, but also has accompanied protest meetings during the Syrian Civil War. Other popular folklore dances include the "Arāḍa" (), a dance performed with swords, as well as oriental dance for women.

References

Badley, Bill and Zein al Jundi. "Europe Meets Asia". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 391–395. Rough Guides Ltd, Penguin Books.

External links

BBC Radio 3 Audio (60 minutes): Damascus. Accessed November 25, 2010.
BBC Radio 3 Audio (60 minutes): Islamic sufi in Aleppo. Accessed November 25, 2010.
Sephardic Pizmonim Project. Accessed March 10, 2018.