Egypt was originally composed in 1978 by Alo Jihad Racy for
the King Tutankhamun exhibit at the Seattle Art Museum. It was inspired by the
artistry of the ancient treasures and the religious symbolism of the Egyptian
Book of the Dead, which suggested titles of the compositions. Only traditional
Near Eastern instruments were used in making this recording, like the nay,
salamiyyah, buzuq, mijwiz, mizmar and others.
Although music existed in prehistoric Egypt, the evidence
for it becomes secure only in the historical (or "dynastic" or
"pharaonic") period--after 3100 BCE. Music formed an important part
of Egyptian life, and musicians occupied a variety of positions in Egyptian
society. Music found its way into many contexts in Egypt: temples, palaces,
workshops, farms, battlefields and the tomb. Music was an integral part of
religious worship in ancient Egypt, so it is not surprising that there were
gods specifically associated with music, such as Hathor and Bes (both were also
associated with dance, fertility and childbirth).
All the major categories of musical instruments (percussion,
wind, stringed) were represented in pharaonic Egypt. Percussion instruments
included hand-held drums, rattles, castanets, bells, and the sistrum--a highly
important rattle used in religious worship. Hand clapping too was used as a
rhythmic accompaniment. Wind instruments included flutes (double and single,
with reeds and without) and trumpets. Stringed instruments included harps,
lyres, and lutes--plucked rather than bowed. Instruments were frequently
inscribed with the name of the owner and decorated with representations of the
goddess (Hathor) or god (Bes) of music. Both male and female voices were also
frequently used in Egyptian music.
Professional musicians existed on a number of social levels
in ancient Egypt. Perhaps the highest status belonged to temple musicians; the
office of "musician" (shemayet) to a particular god or goddess was a
position of high status frequently held by women. Musicians connected with the
royal household were held in high esteem, as were certain gifted singers and
harp players. Somewhat lower on the social scale were musicians who acted as
entertainers for parties and festivals, frequently accompanied by dancers.
Informal singing is suggested by scenes of workers in action; captions to many
of these pictures have been interpreted as words of songs. Otherwise there is
little evidence for the amateur musician in pharaonic Egypt, and it is unlikely
that musical achievement was seen as a desirable goal for individuals who were
not professionals.
The ancient Egyptians did not notate their music before the
Graeco-Roman period, so attempts to reconstruct pharaonic music remain
speculative. Representational evidence can give a general idea of the sound of
Egyptian music. Ritual temple music was largely a matter of the rattling of the
sistrum, accompanied by voice, sometimes with harp and/or percussion.
Party/festival scenes show ensembles of instruments (lyres, lutes, double and
single reed flutes, clappers, drums) and the presence (or absence) of singers
in a variety of situations.
T
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