When one talks about Ethiopian Music of the last half century, it is hard not mention Tilahun Gessesse, the man who dominated the music scene for much of this period. During his Music career lasting almost 5 decades, Tilahun sold millions of albums singing about broad range of themes. He sang about noble ideas that hit too close to home, heart and mind: love, friendship, family, truth, beauty, country, liberty, justice and unity. His music included both amusing and sad lyrics. To many, his voice has been extraordinary.
Over the years, many musicians have made great contributions to Ethiopian Music. One can mention several names in this regard, including Kassa Tesema, Mahmood Ahmed, Alemayehu Eshete, Bizunesh Bekele, Muluken Melese, Ali Birra, Kiros Alemayehu, Aster Aweke, Efrem Tamru, etc. The newer generation of Ethiopian music artists includes Teddy Afro, Giggi, Gosaye Tesfaye, etc. However, none dominated the Ethiopian Music scene so much and for so long as Tilahun Gesesse.
Tilahun Gessesse died at the age of 68 on April 19th 2009, around 3:30 in the morning in Addis Ababa, shortly after his return from America to join his friends and family for the Easter holiday. He had reportedly been in poor health for several years due to diabetes and has been getting treatment in the United States. A lot of Ethiopian news sources said that he was complaining about chest pains on Sunday night and died on the way to a hospital without having the chance to get any medical treatment. His death was sudden, one that shocked and saddened those that knew and loved him the world over.
Tilahun was born to Mrs. Gete Gurmu and Mr. Ayyaano Guddata (Woliso Awrajja), on 29th of September 1940. His given name was Daandaanaa Ayyaano Guddata. Tilahun's mother remarried Gessesse Negussie by which time Tilahun was baptized and took his stepfather's name as his second name. As time went by, his interest in music became increasingly clear. Encouraged by many people, he went to Addis Ababa to pursue a career in Ethiopian music, where he was first hired by the Hager Fikir Association, now known as Hager Fikir Theater. After a few years at the Hager Fikir Theater, he joined the Imperial Guard Band where he became the lead singer. After a while, Tilahun moved to the National Theater where his success continued. He was regarded as the best Ethiopian pop vocalist of the 1960s. His popularity was such that he appeared three times in front of Emperor Haile Selassie I.
He raised large sums of money during the famine of 1970s and 1980s to help famine victims. The majority of his music was recorded in Amharic, but he also recorded in Oromiffa. Tilahun was awarded an Honorary Doctorate Degree from Addis Ababa University for his contribution to Ethiopian music during his five decades of career, and he received an award for lifetime achievement from the Ethiopian Fine Art and Mass Media Prize Trust.
The news of the Legend's death was not taken lightly. Almost all Ethiopians were touched and saddened by it. A candlelight vigil was held by friends and family in the garden of the National Theatre in Addis Ababa on the night of Wednesday, April 22. On Thursday April 23rd, Tilahun was honored with a well-deserved state funeral attended by tens of thousands of his fellow citizens, including government officials and entertainers who gathered at Mesqel Square. His funeral was held at the Holy Trinity Cathedral Church. The national television and several FM radio stations in Ethiopia played his songs in tribute, and fans called in to express their sorrow as well as honor to the legendary vocalist.
There is no doubt that Tilahun is a pioneer of Ethiopian Music. He was the mouthpiece for the last three generations of Ethiopians too. His songs expressed the philosophies, thoughts, feelings, desires and aspirations of his generation. He touched on major episodes of the country's history, like the 1960 coup, the 1973 famine, the 1974 Revolution, and the like. In that sense, his music is also is a read of Ethiopian history of his generation.
Ethiopia has a very rich and diverse music history. The various tribes and ethnic groups of Ethiopia have their own distinct music culture and tradition. The Tigrayans to the north have this smooth, circular dance routine culminated with shoulder and neck movement. The Amharas at the center have dance style dominated by upper body and neck movement. The Oromos to the center and south have this jumping style and full body dance routine. The Gurages have an acrobatic dance that requires high level of arm, leg and body coordination.
Traditional Ethiopian music instruments include the masingo, a one-stringed violin like instrument that is played with a bow; the krar, a six-stringed lyre, played with fingers or a plectrum; the washint, a flute made from bamboo; and various drums. There are three types of drums that are used in different occasions: the negarit (kettledrum), played with sticks, the kebero, played with hands, and the atamo, tapped with the fingers or palm. Other instruments include the begena, a huge, multi-stringed lyre often referred to as the Harp of David; the tsinatsil or sistrum, which is used in churches; the meleket, a long trumpet without fingerholes, and the embilta, a large, one-note flute used on ceremonial occasions.
In addition to the above traditional music instruments, Ethiopian music also includes various types of modern music instruments that are used by bands playing Ethiopian jazz, pop, and the like. Modern Ethiopian music instruments include the guitar, percussion, violin, saxophone, mandolin, clarinet, accordion, etc.
The masinqo is one of the most popular traditional Ethiopian music instruments used throughout Ethiopia. It is one of the fixtures in Ethiopian culture. Although it looks simple, the masinqo can, in the hands of an expert musician, produces a wide variety of melodies. It is often played by wandering minstrels as well as professional musicians, particularly at eating houses and local bars called ?Bunna Bet? or ?Azmari Bet?. The word Azmari is derived from the Geez word Zemmari, which means ?one who sings?. Today, the concept mainly applies to establishments where professional masinqo players and the female singers that accompany them play.
When it comes to Azmari performances, lyrics can be largely improvised or sung with the art of double meaning called Kinie or Semmna Werq (meaning, the literal and the hidden messages). The audience is not supposed to take the lyrics literally ? they are challenged to listen carefully to get the ?golden? sense. The Azmaris may praise individuals in the audience through their songs to uplift their mood. This favor in Ethiopian culture is usually responded in kind by awarding the performer cash ? by pasting a bill on the forehead, or stashing it in the performer's shirt.
Azmaris also accept verses thrown at them by members of the audience and skillfully incorporate them into their music. In traditional Ethiopian music and Ethiopian culture, the skill at improvisation by the Azmari is as important as his/her vocal performance, or his/her skill at playing the masinqo. With such improvised lyrics, one may appreciate, denounce, advice, teach, entertain, and much more.
In recent years, Azmari Ethiopian music performances have even spread to other parts of the world outside Ethiopia. One can find ?Azmari Betoch? in some parts of Europe and North America where there are significant pockets of Ethiopian immigrants residing, including in cities such as Washington DC and Los Angeles in the USA, and London in UK. Although these establishments are not exactly the traditional Ethiopian ?Azmari Bet? variety, they offer many of the services their counterparts in Ethiopia provide, including music using the masinqo.
Trueblue has sinced written about articles on various topics from Keyboard Synthesizer. For more on and , please visit Ezega.. Trueblue's top article generates over 1000 views. to your Favourites.