The music of Western Asia and North Africa spans across a vast region, from Egypt to Iran, and its influences can be felt even further afield. Middle Eastern music influenced the music of Greece and India, as well as Central Asia, Spain, Southern Italy, the Caucasus and the Balkans, as in Byzantine music and Chalga. The various nations of the region include the Arabic-speaking countries of the Middle East and North Africa, the Iraqi traditions of Mesopotamia, Iranian traditions of Persia, the music of Israel, Armenian music, the varied traditions of Cypriot music, the music of Turkey, traditional Assyrian music, Berbers of North Africa, and Coptic Christians in Egypt all maintain their own traditions.
Throughout the region, religion has been a common factor in uniting peoples of different languages, cultures and nations. The predominance of Islam allowed a great deal of Arabic and Byzantine influence to spread through the region rapidly from the 7th century onward. The Arabic scale is strongly melodic, based around various maqamat (sing. maqam) or modes (also known as makam in Turkish music). Arabs translated and developed Greek texts and works of music and mastered the musical theory of the music of ancient Greece (i.e. Systema ametabolon, enharmonium, chromatikon, diatonon). This is similar to the dastgah of Persian music. While this originates with classical music, the modal system has filtered down into folk, liturgical and even popular music, with influence from the West. Unlike much western music, Arabic music includes quarter tones halfway between notes, often through the use of stringed instruments (like the oud) or the human voice. Further distinguishing characteristics of Middle Eastern and North African music include very complex rhythmic structures, generally tense vocal tone, and a monophonic texture.
Often, more traditional Middle Eastern music can last from one to three hours in length, building up to anxiously awaited, and much applauded climaxes, or tarab, derived from the Arabic term طرب tarraba.
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