As home for four Afro-Asiatic language family speakers and diverse nations with distinct culture and tradition, one cannot deny that Ethiopia is a mosaic and harmonious figure which can be observed when all subtle physical and aesthetic values bonds one another.
Apart from the land of varied climatic zones, the country is home for enormous values and tradition since the most known human history. Although the rest of the world uses music as a release therapy to empathize with inner being at times of joy and agony, Ethiopians are among the pioneers in making melodies in written structure.
The works of Saint Yared which are being experienced in the Christian Orthodox Churches of the country can be taken as living witnesses that the country is unique and a real land of origin that grab the attention of anthropologists. Ethiopians have a culture of expressing their feeling whether it is sad or joyful through lamenting, praising, and criticizing abuses and violations respective of every distinctive tradition.
There various approaches of music displayed based on episodes ranging from thanksgiving, protesting, moral triggering in time of war, and pursuing justice, disseminating information among others. The music of Ethiopia is a reflection of all the historical and social episodes, such as the military campaigns that various warlords or chiefs had to launch. The music is about war as well as patriotism, songs of victory, songs that incite support for a certain crusade. The music is also about love, with wonderful melodies and poetic lyrics. The spirituality of Ethiopians is expressed in the form of music. All these types of tunes and melodies are prepared and performed using various traditional instruments
Be it as it may, however, according to documents obtained from In-house East Africa, Ethiopian music uses a distinct modal system that is pentatonic, with characteristically long intervals between some notes.
The music of the Ethiopian Highlands uses a fundamental modal system called qegnet, of which there are four main modes: tezeta, bati, ambassel, and anchihoye. Three additional modes are variations on the above: tezeta minor, bati major, and bati minor. Some songs take the name of their qegnet, such as tizita.
An article by Fitsum Getachew tells us that Ethiopia has a long and at times tormented history. With that, it has an equally long and fascinating history of arts and culture. To write about Ethiopia’s traditional music in one article may not do justice to everyone nor reveal the complete and true picture of the situation.
Ethiopian traditional music is best expressed with its musical instruments, besides the contribution of the renowned vocalists. The most characteristic and widely used instruments are the masinko, the kirar, the washint, the begena, the kebero, and the tom-tom.
The masinko is a single-stringed instrument that is used in many parts of the country by several people, including the Amhara, the Tigreans, and Oromo. The masinko as it is a kind of fiddle made from the tail of horses and a piece of hide. It is relatively easy to make and is played by rubbing a bow made of a string against the fiddle. People in the Ethiopian highland areas learn to play the masinko at a very early age, particularly in the north around Gondar. Verses are typically created by the vocalist and player of the instrument – or as is the tradition, the audience suggests poems or lyrics and the vocalist just repeats them word for word.
The masinko is one of the most popular traditional musical instruments used throughout Ethiopia and one of the fixtures in Ethiopian music and culture. Although it looks simple, the masinko can, in the hands of an expert musician, produce a wide variety of melodies. It is often played by wandering minstrels, as well as professional musicians, particularly at restaurants and local bars called. The word ‘Azmari’ is derived from the Geez word ‘Zemmari’, which means “one who sings”. Today, the concept mainly applies to establishments where professional masinko players perform accompanied by female singers.
The other most popular instrument is the kirar a traditional lyre with five strings. A kirar is a five or six-stringed instrument classified in the lyre family. This instrument has been used in Ethiopia for centuries, often associated with love songs.
The Kebero, a cylindrical dual-sided wooden drum, beats in a spiritual context with metaphorical meaning. Most notably played in Ethiopian Orthodox Tewahedo Church ceremonies as a means of celebration, Kebero is said to represent various aspects of Jesus.
The Ethiopian drum or kebero is used to accompany the traditional tunes that Ethiopians play. The drum enriches most songs, which would be not as interesting to listen to without the drumbeat. The large version of the instrument is widely used in Ethiopian Orthodox Christian liturgical music, while smaller versions are used in secular celebrations. A special kind of drum referred to as tom-tom is used in the south-western part of the country, in Gambella State. The beating of drums, in general, is very characteristic of the fast songs played in the south of the country,
The washint or the flute is another widely used traditional musical instrument. It is typically played by Ethiopian shepherds while herding cattle. The bamboo flute usually has four to six holes. Ethiopian youth learn to play this instrument at a very early age. The washint is a wooden, bamboo, or cane made flute whose construction greatly depends upon its player. The placement of finger-wholes varies from performer to performer, leaving its sound and style malleable. The pitch of the instrument depends upon its size, some yielding lower tones while others resonate at higher, more trebled frequencies. Washint players are said to perform with multiple flutes, using each one to complement the pitch of a particular song.
The sacred instrument which is played with a state of tranquility and inner composure is the begena a 10 string instrument widely used in churches during the fast season. The instrument is mostly used in the confines of one’s personal space. Although occasionally used in certain festivities, the strong tones of the ten-stringed lyres are usually heard in solitude, mostly being played alongside no other instrument other than the voice.
Apart from the amassed traditional music and instruments the diverse tribes and ethnic groups of Ethiopia have their distinctive dance styles. As documents, there are about 150 unique dance movements nationwide.
People in the north most of the country have a smooth, circular dance routine branded by shoulder and neck movements while the central Amharas have a dance style dominated by upper body and neck movements. On the other hand, the Oromos at the center and south have a jumping style and full-bodied dance routine while the Gurages have an energetic dance that requires physical intelligence high levels of arm, leg, and body coordination. The Welayita, Kenbata, Sidama, Dawro, and others among the peoples of the South Region have very attractive belly dances that are hugely popular throughout the nation. The beats are quite rhythmic and fast.
To this end, the aforementioned traditional music, instruments, and dances should not be considered as the characteristic feature of all the diverse nation nationalities and people of Ethiopia. There are yet hundreds of distinct untouched traditional values that needed to be exploited and promoted to humanity.
The Ethiopian Herald July 30, 2020
BY LAKACHEW ATINAFU
