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Complex rhythms: Ethiopian music is known for its intricate rhythmic patterns, as with the case for many African music, often featuring irregular meters and syncopation. Vocal styles: Traditional Ethiopian singing includes a variety of vocal techniques, such as melismatic, ornamentation, vocal slides, and call-and-response structures.
Ethiopian jazz is a fusion of traditional Ethiopian rhythms and harmonies with the techniques and instruments of Western jazz. One of the key figures in the development of Ethiopian Jazz was Mulatu Astatke. As a teenager, Mulatu was able to leave Addis Ababa in 1959 to study music at the Trinity College of Music in London. [4]
The music of Ethiopia is extremely diverse, with each of the country's ethnic groups being associated with their own sounds. Some forms of traditional music are strongly influenced by folk music from elsewhere in the Horn of Africa, especially Somalia. In southeastern Ethiopia, in Wollo, a Muslim musical form called manzuma developed in 1907.
Habesha was a population living in yemen that the ancient Axumite Ethiopians had incorporated into their kingdom, then at the beginning of the tenth century Arab Gulf geographers began to describe the Horn of Africa region as Al-Habash Habesha solidarity to tigray from an old ethiopian
The Ethiopian traditional music embodied with strong oral-literature style. In this case, the traditional music is played by local entertainers called azmaris. Music in Ethiopia was originated, as part of Christian religious service during Yared-era in the 6th century. Muslim form called manzuma also developed in Harar and Jimma. [1]
The masenqo (Amharic: ማሲንቆ; Tigrinya: ጭራ-ዋጣ (ዋጣ), also known as masinko, is a single-stringed bowed lute commonly found in the musical traditions of Eritrea and Ethiopia. [1]
Orthodox Tewahedo music refers to sacred music of the Ethiopian and Eritrean Orthodox Tewahedo Church. The music was long associated with Zema (chant), developed by the six century composer Yared . It is essential part of liturgical service in the Church and classified into fourteen anaphoras, with the normal use being the Twelve Apostles .
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