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==Background==
==Background==
Assyrian folk music claims to be the descendant of the music of their ancient [[Upper Mesopotamia]]n ancestors that has survived in the liturgical music of the [[Syriac Churches]]. Assyrian songs are generally sung in [[Assyrian Neo-Aramaic#Iraqi Koine|Iraqi Koine]], a [[Standard language|standard variety]] of [[Assyrian Neo-Aramaic]]. However, older songs mostly had an Urmian dialect and tribal-folk music tend to contain [[Tyari]] dialects. Themes tend to focus on [[Desire|longing]], melancholy, strife and love issues. Assyrian songs are usually lengthy, tending to be around 5 minutes long on average.
Assyrian folk music claims to be the descendant of the music of their ancient [[Upper Mesopotamia]]n ancestors that has survived in the liturgical music of the [[Syriac Churches]]. Assyrian songs are generally sung in [[Assyrian Neo-Aramaic#Iraqi Koine|Iraqi Koine]], a [[Standard language|standard variety]] of [[Assyrian Neo-Aramaic]]. However, older songs mostly had an [[Urmia Northeastern Neo-Aramaic|Urmian dialect]] and tribal-folk music tend to contain [[Tyari]] dialects. Themes tend to focus on [[Desire|longing]], melancholy, strife and love issues. Assyrian songs are usually lengthy, tending to be around 5 minutes long on average.


==Composition==
==Composition==
Assyrian folk can also be found in traditional Middle Eastern [[makam]]s, and it has similarities to other folk music in Western Asia, such as [[Kurdish music|Kurdish]], [[Turkish music|Turkish]], [[Persian music (disambiguation)|Persian]], and [[Armenian music]]. Unlike most Western music, Assyrian music includes [[quarter tone]]s halfway between notes, often through the use of instruments or the human voice. Modern Assyrian pop music is mostly written in the [[minor key]], and would typically use the [[Phrygian mode|Phrygian]] scale, as well as the [[harmonic minor]] scale as well.
Assyrian folk can also be found in traditional [[Middle East|Middle Eastern]] [[makam]]s, and it has similarities to other folk music in [[Western Asia]], such as [[Kurdish music|Kurdish]], [[Turkish music|Turkish]], [[Persian music (disambiguation)|Persian]], and [[Armenian music]]. Unlike most Western music, Assyrian music includes [[quarter tone]]s halfway between notes, often through the use of instruments or the human voice. Modern Assyrian pop music is mostly written in the [[minor key]], and would typically use the [[Phrygian mode|Phrygian]] scale, as well as the [[harmonic minor]] scale as well.


Most recently, Assyrian dance music has a beat or [[rhythm]] similar to [[Jamaican music]] (see [[riddim]]). [[solo (music)|Solos]] are common in Assyrian music and they are usually protracted. Instrumentation is mostly arranged with a [[keyboard (instrument)|keyboard]] and [[electronic drums]], namely in weddings or parties. Although many forms of Assyrian records do use [[acoustic music|acoustic]] and [[orchestra]]l instruments such as [[String section|strings]], [[piano]]s, [[saxophone]]s and [[violins]].<ref>Subhi Anwar Rashid, ''The History of Musical Instruments in Old Iraq.'' Pg 180-181 </ref>
Most recently, Assyrian dance music has a beat or [[rhythm]] similar to [[Jamaican music]] (see [[riddim]]). [[solo (music)|Solos]] are common in Assyrian music and they are usually protracted. Instrumentation is mostly arranged with a [[keyboard (instrument)|keyboard]] and [[electronic drums]], namely in weddings or parties. Although many forms of Assyrian records do use [[acoustic music|acoustic]] and [[orchestra]]l instruments such as [[String section|strings]], [[piano]]s, [[saxophone]]s and [[violins]].<ref>Subhi Anwar Rashid, ''The History of Musical Instruments in Old Iraq.'' Pg 180-181 </ref>
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Assyrian folk music is omnipresent in the village scene. A "musician" is not necessarily a professional, whoever can sing in any manner is considered a "singer". Most of the time, music is learned by ear and passed down as an oral tradition. Village music may be categorized, basically, into four groups: local secular music not related to specific occasions; functional music; religious music and hymns; music adopted from other areas.<ref>Journalism: A 140-Year Experience”, ''Journal of the Assyrian Academic Society'', Vol. VII, No. 2, 1993. pp. 17-8</ref>
Assyrian folk music is omnipresent in the village scene. A "musician" is not necessarily a professional, whoever can sing in any manner is considered a "singer". Most of the time, music is learned by ear and passed down as an oral tradition. Village music may be categorized, basically, into four groups: local secular music not related to specific occasions; functional music; religious music and hymns; music adopted from other areas.<ref>Journalism: A 140-Year Experience”, ''Journal of the Assyrian Academic Society'', Vol. VII, No. 2, 1993. pp. 17-8</ref>


Here are a few types of tribal Assyrian Music that has survived to this day, especially in the Assyrian villages and towns of Northern Iraq, southeast Turkey, northwest Iran and northeast Syria:
Here are a few types of tribal Assyrian Music that has survived to this day, especially in the Assyrian villages and towns of northern [[Iraq]], southeastern [[Turkey]], northwestern [[Iran]] and northeastern [[Syria]]:


{{listen|filename=|title= Raweh|description=''Raweh'' would usually feature a chanting male voice that is reverberated.}}
{{listen|filename=|title= Raweh|description=''Raweh'' would usually feature a chanting male voice that is reverberated.}}
Line 22: Line 22:
*'''Diwaneh''': Sung in gatherings and meetings; lyrics cover aspects of life such as, working in the fields, persecution, suffering, religion.
*'''Diwaneh''': Sung in gatherings and meetings; lyrics cover aspects of life such as, working in the fields, persecution, suffering, religion.
*'''Lilyana''': Wedding songs usually sung by women only, especially for the bride before leaving her home to get married. Also sung for the bridegroom the day before his wedding by his family and relatives.
*'''Lilyana''': Wedding songs usually sung by women only, especially for the bride before leaving her home to get married. Also sung for the bridegroom the day before his wedding by his family and relatives.
*'''[[Tanbur]]''': Another tribal music instrument, a string instrument with long neck, originated in ancient Assyria, discovered being depicted on carving from South Iraq from [[Ur]] to [[Akkad (city)|Akkad]] and [[Assur|Ashur]]. Albert Rouel Tamraz was a famous Assyrian Singer from Iraq who played this instrument and sung many folkloric songs accompanied by hand-drum ([[tabla]]).
*'''[[Tanbur]]''': Another tribal music instrument, a string instrument with long neck, originated in ancient Assyria, discovered being depicted on carving from South Iraq from [[Ur]] to [[Akkad (city)|Akkad]] and [[Assur|Ashur]]. Albert Rouel Tamraz was a famous Assyrian singer from Iraq who played this instrument and sung many folkloric songs accompanied by hand-drum ([[tabla]]).


It was in the [[Assyrian homeland]] north of [[Mosul]] that people started to write the modern Syriac vernacular more than two hundred years before the earliest British missionaries, although the earliest records of the [[Syriac language]] date from 5th century BC [[Achaemenid Assyria]]. The earliest dated text is a poem written in 1591. This makes early Neo-Syriac literature a contemporary of Jewish Neo-Aramaic literature from roughly the same region, dating back to the late 16th century.
It was in the [[Assyrian homeland]] north of [[Mosul]] that people started to write the modern Syriac vernacular, more than two hundred years before the earliest British missionaries, although the earliest records of the [[Syriac language]] date from 5th century BC [[Achaemenid Assyria]]. The earliest dated text is a poem written in 1591. This makes early Neo-Syriac literature a contemporary of Jewish Neo-Aramaic literature from roughly the same region, dating back to the late 16th century.


The Neo-Syriac literature which existed before the arrival of British and American missionaries consisted mainly of poetry. This poetry can be divided into three categories: stanzaic hymns, dispute poems, and drinking songs. Of these three categories, only the hymns, which in Neo-Syriac are termed ''duriky''{{which lang|date=September 2020}}; and which can be seen as the equivalent of the Classical Syriac ''madrase'', can usually be traced back to individual authors.<ref>H. L. Murre-van den Berg</ref>
The Neo-Syriac literature which existed before the arrival of British and American missionaries consisted mainly of poetry. This poetry can be divided into three categories: stanzaic hymns, dispute poems, and drinking songs. Of these three categories, only the hymns, which in Neo-Syriac are termed ''duriky''{{which lang|date=September 2020}}; and which can be seen as the equivalent of the [[Classical Syriac]] ''madrase'', can usually be traced back to individual authors.<ref>H. L. Murre-van den Berg</ref>


===Modern Assyrian Music===
===Modern Assyrian Music===
[[File:Azadootawomad.png|thumb|240px|Assyrian Australian band [[Azadoota]] has incorporated both Assyrian folk rhythm and style with [[Latin pop|Latin]] and rock flavour.]]
[[File:Azadootawomad.png|thumb|240px|[[Assyrian Australians|Assyrian Australian]] band [[Azadoota]] has incorporated both Assyrian folk rhythm and style with [[Latin pop|Latin]] and rock flavour]]
World War I, and the resulting [[Assyrian genocide]], drove many Assyrians out from the mountainous region of [[Hakkari (historical region)|Hakkari]], southeast Turkey to the regions of northern Iraq and north east Syria, and [[World War II]] brought them in direct contact with the west especially the [[British army]] in Iraq, Russians in Urmia and the French in Syria. But the contact with the British caused the most influence on modern Assyrian music, especially the period after the independence of Iraq in 1932, which brought British oil companies into Iraq and they employed many by now English speaking Assyrians. At this time they came in contact with Western music and instruments. Assyrian youth started picking up and playing these new instruments after seeing and hearing the British playing. Assyrian youths started to find new bands and to play in parties, picnics and other functions for both Assyrians and others.
[[World War I]], and the resulting [[Sayfo|Assyrian genocide]], drove many Assyrians out from the mountainous region of [[Hakkari (historical region)|Hakkari]], southeastern Turkey to the regions of northern Iraq and northeastern Syria. [[World War II]] brought them in direct contact with the [[Western world|west]], especially the [[British Army]] in Iraq, [[Russians]] in [[Urmia]] and the [[French language|French]] in [[Syria]]. The contact with the British caused the most influence on modern Assyrian music, especially the period after the independence of Iraq in 1932, which brought British oil companies into Iraq and they employed many by now English speaking Assyrians. At this time they came in contact with Western music and instruments. Assyrian youth started picking up and playing these new instruments after seeing and hearing the British playing. Assyrian youths started to find new bands and to play in parties, picnics and other functions for both Assyrians and others.


[[Gabriel Asaad]] was the pioneer of Assyrian music and composed the first Assyrian song in the [[Turoyo language]], ''Othuroye Ho Mtoth Elfan l-Metba‘'' (1926, ܐܬܘܪܝܶܐ ܗܐ ܡܛܬ ܐܠܦܢ ܠܡܛܒܥ "Assyrians, Our ship is on the way to sink"). In Baghdad, Iraq the earliest known record is by [[Hanna Patros]] in 1931 – perhaps two Gramophones (78rpm) with 2 songs on each (church hymns and folk songs). Called “"Karuzuta d-khasha". Hanna Petros (1896–1958), later became the music director at the conservatory in Baghdad. There were church hymns and folklore songs with a musical company on the records. Albert Rouel Tamras releases his first records in Baghdad in 1966 on Bashirphone label owned by [[Jameil Bashir]] an Assyrian Iraqi oud and violin soloist. Singing in the background with Albert are Biba and [[Sargon Gabriel]], two singers who would later become notable figures in modern Assyrian music in the US. Contemporaneously, [[Evin Agassi]] was also making music in [[Iran]] during the 1950s and 1960s.
[[Gabriel Asaad]] was the pioneer of Assyrian music and composed the first Assyrian song in the [[Turoyo language]], ''Othuroye Ho Mtoth Elfan l-Metba‘'' (1926, ܐܬܘܪܝܶܐ ܗܐ ܡܛܬ ܐܠܦܢ ܠܡܛܒܥ "Assyrians, Our ship is on the way to sink"). In [[Baghdad]], Iraq the earliest known record is by [[Hanna Patros]] in 1931 – perhaps two Gramophones (78rpm) with 2 songs on each (church hymns and folk songs). Called “"Karuzuta d-khasha". Hanna Petros (1896–1958), later became the music director at the conservatory in Baghdad. There were church hymns and folklore songs with a musical company on the records. Albert Rouel Tamras releases his first records in Baghdad in 1966 on Bashirphone label owned by [[Jameil Bashir]] an [[Assyrians in Iraq|Assyrian Iraqi]] oud and violin soloist. Singing in the background with Albert are Biba and [[Sargon Gabriel]], two singers who would later become notable figures in modern Assyrian music in the United States. Contemporaneously, [[Evin Agassi]] was also making music in [[Iran]] during the 1950s and 1960s.


From the 1970s and onward, Assyrian music started to incorporate elements from Western [[popular music]], such as [[Music of the United Kingdom|British]] and [[American music]]. Genres such as [[soft rock]], [[sentimental ballads|pop ballads]] and [[dance pop]] became popular from 1980s and onward, although they all still had elements of Assyrian folk. In the 1990s and 2000s, Assyrian artists routinely fused in the traditional sounds of zurna and dawola conjured by [[electronic keyboard]]s, as synthesized music got popular at that time. The [[Latin music (genre)|Latin genre]] became popular in the late 1990s with instruments such as the [[Flamenco guitar]] being featured abundantly in Assyrian songs. [[Rock music]] never became popular in the Assyrian music scene, although a few Assyrian songs have featured [[electric guitars]]. Despite rock's unpopularity, there exists an Assyrian-Armenian metal band called [[Melechesh]], which has extensive Assyrian-Mesopotamian influences both lyrically and instrumentally.<ref>Rimmer, J. ''Ancient musical Instruments of western Asia in the British Museum'', London 1969 p. 39.f.pl.21, 17,18,199 </ref>
From the 1970s and onward, Assyrian music started to incorporate elements from Western [[popular music]], such as [[Music of the United Kingdom|British]] and [[American music]]. Genres such as [[soft rock]], [[sentimental ballads|pop ballads]] and [[dance pop]] became popular from 1980s and onward, although they all still had elements of Assyrian folk. In the 1990s and 2000s, Assyrian artists routinely fused in the traditional sounds of zurna and dawola conjured by [[electronic keyboard]]s, as synthesized music got popular at that time. The [[Latin music (genre)|Latin genre]] became popular in the late 1990s with instruments such as the [[Flamenco guitar]] being featured abundantly in Assyrian songs. [[Rock music]] never became popular in the Assyrian music scene, although a few Assyrian songs have featured [[electric guitars]]. Despite rock's unpopularity, there exists an Assyrian-Armenian metal band called [[Melechesh]], which has extensive Assyrian-Mesopotamian influences both lyrically and instrumentally.<ref>Rimmer, J. ''Ancient musical Instruments of western Asia in the British Museum'', London 1969 p. 39.f.pl.21, 17,18,199 </ref>


It is customary for modern Assyrian artists to generally sing in ''Iraqi Koine'', or "Standard Assyrian" (which is based on the prestigious [[Urmia]]n dialect but has influences of the [[List of Assyrian tribes|Hakkari dialects]]), for them to be intelligible and have widespread recognition. Songs in mountainous dialects, such as [[Tyari]], are usually of the [[folk music|folk]]-dance music genre and would attract certain audiences.<ref>Solomon, Zomaya S. (1997). ''Functional and other exotic sentences in Assyrian Aramaic'', Journal of Assyrian Academic Studies, Xi/2:44-69.</ref> Due to [[Arab music|Arab]] influence, some Assyrian singers may incorporate [[mawwal]] in their music.
It is customary for modern Assyrian artists to generally sing in ''Iraqi Koine'', or "Standard Assyrian" (which is based on the prestigious [[Urmia Northeastern Neo-Aramaic|Urmian dialect]] but has influences of the [[Hakkari (historical region)|Hakkari dialects]]), for them to be intelligible and have widespread recognition. Songs in mountainous dialects, such as [[Tyari]], are usually of the [[folk music|folk]]-dance music genre and would attract certain audiences.<ref>Solomon, Zomaya S. (1997). ''Functional and other exotic sentences in Assyrian Aramaic'', Journal of Assyrian Academic Studies, Xi/2:44-69.</ref> Due to [[Arab music|Arab]] influence, some Assyrian singers may incorporate [[mawwal]] in their music.


==List of Assyrian singers==
==List of Assyrian singers==
*[[Janan Sawa]] (1956-) Assyrian singer from Iraq based in America
*[[Janan Sawa]] (1956-) Assyrian singer from Iraq based in [[United States|America]]
*[[Nadia Louis ]] (2002-) Assyrian singer/songwriter from Iraq based in Sweden
*[[Nadia Louis ]] (2002-) Assyrian singer/songwriter from Iraq based in [[Sweden]]
*[[Faia Younan]] (1992-) Assyrian singer from Syria based in Sweden
*[[Faia Younan]] (1992-) Assyrian singer from Syria based in [[Sweden]]
*[[Robert Ibrahimi]] (1949-) Assyrian singer from Iran based in Arizona
*[[Robert Ibrahimi]] (1949-) Assyrian singer from Iran based in [[Arizona]]
*[[Roben Talow]] Assyrian singer from Iraq based in Toronto
*[[Roben Talow]] Assyrian singer from Iraq based in [[Toronto]]
*[[Shamiram Urshan]] (1938–2011) Assyrian singer and entertainer from Iran based in California
*[[Shamiram Urshan]] (1938–2011) Assyrian singer and entertainer from Iran based in [[California]]
*[[Albert Ruel Tamras]] (1944 - 2011-07-24) Assyrian singer/songwriter from Iraq based in Arizona
*[[Albert Ruel Tamras]] (1944 - 2011-07-24) Assyrian singer/songwriter from Iraq based in [[Arizona]]
*[[Acrassicauda]], USA-based Iraqi thrash-metal band formed in 2001
*[[Acrassicauda]], USA-based Iraqi thrash-metal band formed in 2001
*[[Evin Agassi]] (1945-)
*[[Evin Agassi]] (1945-)
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*[[Sargon Gabriel]] (1947-)
*[[Sargon Gabriel]] (1947-)
*[[Linda George (Assyrian singer)|Linda George]] (1964-)
*[[Linda George (Assyrian singer)|Linda George]] (1964-)
*Claudia Hanna - Assyrian singer of Arabic & Assyrian music, based in Egypt
*Claudia Hanna - Assyrian singer of Arabic & Assyrian music, based in [[Egypt]]
*[[Nouri Iskandar]] (1938-)
*[[Nouri Iskandar]] (1938-)
*[[Elias Karam]] (1960-)
*[[Elias Karam]] (1960-)
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*[[Juliana Jendo]] (1952-)
*[[Juliana Jendo]] (1952-)
*[[Wadih El Safi]] (1921-2013)
*[[Wadih El Safi]] (1921-2013)
*[[Azadoota]], Sydney based Assyrian band, formed in 1996
*[[Azadoota]], [[Sydney]] based Assyrian band, formed in 1996
*[[Fairuz]] (1950-) Famous Assyrian-Lebanese singer who grew up in [[Lebanon]]. Her father was an ethnic Assyrian from [[Mardin]] who fled the [[Sayfo|Assyrian Genocide]] of 1915 and belonged to the [[Syriac Orthodox Church]]. She sings mostly in [[Arabic]] but has sung hymns in her native [[Turoyo language|Western Syriac]] dialect.<ref>https://m.bianet.org/english/print/202838-charming-voice-of-the-middle-east-fairuz {{Bare URL inline|date=March 2022}}</ref>
*[[Fairuz]] (1950-) Famous Assyrian-Lebanese singer who grew up in [[Lebanon]]. Her father was an ethnic Assyrian from [[Mardin]] who fled the [[Sayfo|Assyrian Genocide]] of 1915 and belonged to the [[Syriac Orthodox Church]]. She sings mostly in [[Arabic]] but has sung hymns in her native [[Turoyo language|Western Syriac]] dialect.<ref>https://m.bianet.org/english/print/202838-charming-voice-of-the-middle-east-fairuz {{Bare URL inline|date=March 2022}}</ref>


Revision as of 01:12, 21 March 2022

Assyrian folk/pop music, also known as Assyrian folk-pop or modern Syriac music (Template:Lang-syr), is the musical style of the Assyrian people derived from traditional music that includes a broad range of stylistic varieties, which would also encompass fusions of Western genres such as pop, electronic, Latin, jazz and/or classical music, with a melodic basis of Assyrian folk.

Background

Assyrian folk music claims to be the descendant of the music of their ancient Upper Mesopotamian ancestors that has survived in the liturgical music of the Syriac Churches. Assyrian songs are generally sung in Iraqi Koine, a standard variety of Assyrian Neo-Aramaic. However, older songs mostly had an Urmian dialect and tribal-folk music tend to contain Tyari dialects. Themes tend to focus on longing, melancholy, strife and love issues. Assyrian songs are usually lengthy, tending to be around 5 minutes long on average.

Composition

Assyrian folk can also be found in traditional Middle Eastern makams, and it has similarities to other folk music in Western Asia, such as Kurdish, Turkish, Persian, and Armenian music. Unlike most Western music, Assyrian music includes quarter tones halfway between notes, often through the use of instruments or the human voice. Modern Assyrian pop music is mostly written in the minor key, and would typically use the Phrygian scale, as well as the harmonic minor scale as well.

Most recently, Assyrian dance music has a beat or rhythm similar to Jamaican music (see riddim). Solos are common in Assyrian music and they are usually protracted. Instrumentation is mostly arranged with a keyboard and electronic drums, namely in weddings or parties. Although many forms of Assyrian records do use acoustic and orchestral instruments such as strings, pianos, saxophones and violins.[1]

History

Folkloric period

Assyrian folk music is omnipresent in the village scene. A "musician" is not necessarily a professional, whoever can sing in any manner is considered a "singer". Most of the time, music is learned by ear and passed down as an oral tradition. Village music may be categorized, basically, into four groups: local secular music not related to specific occasions; functional music; religious music and hymns; music adopted from other areas.[2]

Here are a few types of tribal Assyrian Music that has survived to this day, especially in the Assyrian villages and towns of northern Iraq, southeastern Turkey, northwestern Iran and northeastern Syria:

  • Raweh: An ancient melodic chant which features wailing echoed voices, usually of a male. Raweh is reminiscent of how one's voice echoes in a valley between mountains.
  • Zurna O Dawolah: These are two traditional music instruments, literally meaning a drum and wind-pipe (or flute). They are played together, either with or without singing in many ceremonies such as weddings, welcoming and, albeit rarely, funerals.
  • Diwaneh: Sung in gatherings and meetings; lyrics cover aspects of life such as, working in the fields, persecution, suffering, religion.
  • Lilyana: Wedding songs usually sung by women only, especially for the bride before leaving her home to get married. Also sung for the bridegroom the day before his wedding by his family and relatives.
  • Tanbur: Another tribal music instrument, a string instrument with long neck, originated in ancient Assyria, discovered being depicted on carving from South Iraq from Ur to Akkad and Ashur. Albert Rouel Tamraz was a famous Assyrian singer from Iraq who played this instrument and sung many folkloric songs accompanied by hand-drum (tabla).

It was in the Assyrian homeland north of Mosul that people started to write the modern Syriac vernacular, more than two hundred years before the earliest British missionaries, although the earliest records of the Syriac language date from 5th century BC Achaemenid Assyria. The earliest dated text is a poem written in 1591. This makes early Neo-Syriac literature a contemporary of Jewish Neo-Aramaic literature from roughly the same region, dating back to the late 16th century.

The Neo-Syriac literature which existed before the arrival of British and American missionaries consisted mainly of poetry. This poetry can be divided into three categories: stanzaic hymns, dispute poems, and drinking songs. Of these three categories, only the hymns, which in Neo-Syriac are termed duriky[what language is this?]; and which can be seen as the equivalent of the Classical Syriac madrase, can usually be traced back to individual authors.[3]

Modern Assyrian Music

Assyrian Australian band Azadoota has incorporated both Assyrian folk rhythm and style with Latin and rock flavour

World War I, and the resulting Assyrian genocide, drove many Assyrians out from the mountainous region of Hakkari, southeastern Turkey to the regions of northern Iraq and northeastern Syria. World War II brought them in direct contact with the west, especially the British Army in Iraq, Russians in Urmia and the French in Syria. The contact with the British caused the most influence on modern Assyrian music, especially the period after the independence of Iraq in 1932, which brought British oil companies into Iraq and they employed many by now English speaking Assyrians. At this time they came in contact with Western music and instruments. Assyrian youth started picking up and playing these new instruments after seeing and hearing the British playing. Assyrian youths started to find new bands and to play in parties, picnics and other functions for both Assyrians and others.

Gabriel Asaad was the pioneer of Assyrian music and composed the first Assyrian song in the Turoyo language, Othuroye Ho Mtoth Elfan l-Metba‘ (1926, ܐܬܘܪܝܶܐ ܗܐ ܡܛܬ ܐܠܦܢ ܠܡܛܒܥ "Assyrians, Our ship is on the way to sink"). In Baghdad, Iraq the earliest known record is by Hanna Patros in 1931 – perhaps two Gramophones (78rpm) with 2 songs on each (church hymns and folk songs). Called “"Karuzuta d-khasha". Hanna Petros (1896–1958), later became the music director at the conservatory in Baghdad. There were church hymns and folklore songs with a musical company on the records. Albert Rouel Tamras releases his first records in Baghdad in 1966 on Bashirphone label owned by Jameil Bashir an Assyrian Iraqi oud and violin soloist. Singing in the background with Albert are Biba and Sargon Gabriel, two singers who would later become notable figures in modern Assyrian music in the United States. Contemporaneously, Evin Agassi was also making music in Iran during the 1950s and 1960s.

From the 1970s and onward, Assyrian music started to incorporate elements from Western popular music, such as British and American music. Genres such as soft rock, pop ballads and dance pop became popular from 1980s and onward, although they all still had elements of Assyrian folk. In the 1990s and 2000s, Assyrian artists routinely fused in the traditional sounds of zurna and dawola conjured by electronic keyboards, as synthesized music got popular at that time. The Latin genre became popular in the late 1990s with instruments such as the Flamenco guitar being featured abundantly in Assyrian songs. Rock music never became popular in the Assyrian music scene, although a few Assyrian songs have featured electric guitars. Despite rock's unpopularity, there exists an Assyrian-Armenian metal band called Melechesh, which has extensive Assyrian-Mesopotamian influences both lyrically and instrumentally.[4]

It is customary for modern Assyrian artists to generally sing in Iraqi Koine, or "Standard Assyrian" (which is based on the prestigious Urmian dialect but has influences of the Hakkari dialects), for them to be intelligible and have widespread recognition. Songs in mountainous dialects, such as Tyari, are usually of the folk-dance music genre and would attract certain audiences.[5] Due to Arab influence, some Assyrian singers may incorporate mawwal in their music.

List of Assyrian singers

See also

References

  1. ^ Subhi Anwar Rashid, The History of Musical Instruments in Old Iraq. Pg 180-181
  2. ^ Journalism: A 140-Year Experience”, Journal of the Assyrian Academic Society, Vol. VII, No. 2, 1993. pp. 17-8
  3. ^ H. L. Murre-van den Berg
  4. ^ Rimmer, J. Ancient musical Instruments of western Asia in the British Museum, London 1969 p. 39.f.pl.21, 17,18,199
  5. ^ Solomon, Zomaya S. (1997). Functional and other exotic sentences in Assyrian Aramaic, Journal of Assyrian Academic Studies, Xi/2:44-69.
  6. ^ https://m.bianet.org/english/print/202838-charming-voice-of-the-middle-east-fairuz [bare URL]
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