College of Performing and Visual Arts

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Analysis of Ethiopian ‘Kignts’ used Dominantly in Popular Songs Produced as Commercial Music in the 1960-1980s
(Addis Ababa University, 2020-12) Hilina, Fekadu; Ezra, Abate
The study is an attempt to identify the dominant scales that have been used in popular song produced for commercial specifically 1960-1980s E.C. The data for this study were collected though document analysis and interviews. The data were collected from archived interviews, songs, composers, band leaders and singers. Then, the data were analyzed qualitatively and identified using musical analysis. The finding of the study indicated that the four scales called Tizita, Bati, Anchihoye and Ambasel takes as an Ethiopian scale that are dominantly used in different part of the country. Besides, these scales are a means of expressing mode that can tell the feeling of sadness or happiness. However the political situation and the government’s ideologies usually influence the culture of music. Even though the governments have a part in the music industry the professional discipline is essential for any profession as well as the growth of individual to family to the society at large. The study concludes forwarding recommendations and suggests aspects that should be considered in order to stay in the industry. Therefore the musician should reflect the social norms and culture as well as the interests of audiences beside commercial purpose because that can help to produce unforgettable popular works.
Arabic musical influence on the traditional music of Ethiopia
(Addis Ababa University, 2022-11) Mastewal, Mandefro; Ezra, Abate
This thesis focuses on the historical relationship and the music sound that had been created between Ethiopia and Arab from 7th century starting from northern and central parts of Ethiopia to trace where Arabs and Ethiopians grow more attachment to their relationship in all aspects, particularly music, after the Islamic religion began. Using Archaeomusicology and Ethnography method to get historic, social, and behavioral understanding on the influenced music, in its relation to socio-cultural context, in addition observing other related cultures, clothing, language, belonging, and the music style that is used today by the descendants of the first people who shared the Arabic culture. Data analysis includes literature review, interviews with historians, university professors, researchers, and religious leaders, and melody analysis of the folk music and archeological findings that has been inherited by the ancient Ethiopians, its related history, and the given identity of its social and cultural value in current time. The principal findings are focused on the musical influences of Arab in Ethiopia and their early history of cultural entanglement. Unlike other countries in Africa, their relationship does not start with conquest for Islamic expansion. It happened way before the Islamic religion's expansion, with the traders on the Red Sea earlier, and continued after the arrival of the Prophet Mohammed's followers as asylum-seekers in Aksum, Northern Ethiopia, in 615 A.D., when the Aksumite king welcomed them and allowed the refugees to stay in his kingdom.
Emotions Induced by Yaredawi Zema
(Addis Ababa University, 2021) Illasha Fekadu; Sergew Gelaw (Phd)
A lot has been said about the relation between Music and Emotion. Many scholars have tried to state and explain the emotional impact of music on its listeners. Yaredawi Zema , believedto be both ancient and sacred, stands out from other music types of our time both in itsorigination and application. This study collected a survey of the listeners’ accounts regardingtheir emotional experiences that arise from listening to Yaredawi Zema . Emotional experiences collected from listeners are listed, grouped and analysed both to explain what emotions specifically Yaredawi Zema induces on its listeners and what factors govern the emotional experiences of the listeners. This thesis examined independent personal feedback of listeners so that there will be a solid ground for keeping their original and most honest emotional experiences.
Ethiopian Theatre in the Eyes of Expatriates
(Addis Ababa University, 2022-05-01) Eyasu Sleshi; Balew Demissie (PhD)
Since the opening of Higher Education in Ethiopia, various foreign scholars have studied Ethiopian theater. For the past sixty-seven years, these foreign scholars have studied Ethiopian theater with the help of translators. Although the contribution of these foreign scholars to the development of Ethiopian theater is undeniable, their research findings on Ethiopian theater are often misleading. This study argues that Ethiopian theater should also be studied from an Ethiopian perspective. The aim of the study was to answer the question of how Western scholars understand Ethiopian theater and which field of theater they prefer to study. The study also revisits expatriates’ conclusions and findings about Ethiopian theater. The study had the following research questions. First, which aspect of Ethiopian theater do western writers deal with? Second, what is their generic preference in Ethiopian Theatre scholarship? Third, what are the expatriates’ conclusions and findings in study of Ethiopian theater? This study employed a comparative approach to Ethiopian theater by comparing and contrasting various local and international research findings on Ethiopian theater. The study found that most expatriates studied the historiography of Ethiopian theater. They ignored other practical and theoretical aspects of Ethiopian theatre scholarship. Most expatriates also studied the theater staged in Ethiopian theaters. Popular theater and other genres were left out of their studies. Moreover, the expatriates’ findings and conclusions about Ethiopian theater were misleading, inaccurate and biased. Still, some of the expatriates had a distorted and colonial thinking about Ethiopian theater. They often interpret their research findings from the western perspective. The study concluded that the previous studies on Ethiopian theater conducted by expatriates need further appraisal and critical evaluation. Most of the studies have been one-sided and have dealt with the theater only superficially. The study recommends that any previous study on Ethiopian theater by expatriates needs to be re-evaluated in terms of its research methods, findings, conclusions and implications.
Exploring the Aesthetics of Liturgical Performance in the Ethiopian Orthodox Tewahedo Churchat Ta'eka Negest Be'ata Lemariam Monastery, Addis Ababa
(Addis Ababa University, 2023-06) Meseret Mebratie; Balew Demissie (PhD)
The purpose of this study is to explore the aesthetics of liturgical performance in the Ethiopian Orthodox Tewahedo Church. In particular, it is focused on Ta'eka Negest Be'ata Lemariam Monastery in Addis Ababa, Ethiopia. A qualitative research design was used for the study, employing observation, document analysis, and interviews as data collection methods. The results show that religious chants, songs, visual arts, and literature are important elements of liturgical performance in the Ethiopian Orthodox Tewahedo Church liturgy. Participants in the study emphasized the importance of these elements in creating reverent and meditative atmosphere, in conveying the message of the liturgy, and in promoting spiritual transformation. The study has significant implications for our understanding of Ethiopian Christianity and the arts and can contribute to a deeper appreciation of how aesthetic ritual and spirituality involve aesthetical elements often observed in the realm of the Arts.
Exploring the Role of Ethiopia’s National Theatre For Nation Building
(Addis Ababa University, 2020-11) Manyazewal Getachew; Balew Demissie (PhD)
This study is conducted to explore the role of Ethiopian national theater in nation building in Ethiopia from 2000 to 2010 E.C in Ethiopia. The study addresses the concept of national theater, national identity, nation building and relationships of theater, history of Ethiopian national theater and Ethiopian national identity. In addition, theories of national identity and models of national identity with their political approach of the perspectives of national theater were explained. To achieve the research objectives, the researcher adopted a qualitative approach with a descriptive research design. The research was conducted in Addis Ababa and focused on the Ethiopian national theater. Eight purposively selected informants were interviewed in detail. In addition, four purposively selected theater scripts (Babylon Be salon, Ye Kake Wurdewet, Ye Tewodros Raey and Alkash ena Zafagn) and relevant documents were analyzed and interpreted. Interview, document analysis and observation were used to collect data from primary and secondary sources. The study applies theories of national identity and national identity models (common belonging, constitutional patriotism and self-projections) as parameters to measure the performance of Ethiopian national theater during the study period. The findings of the study show that the Ethiopian National Theater did not fulfill its roles and responsibilities in representing national culture, strengthening national identity, enhancing social solidarity, building national consensus, strengthening national unity and contributing to the nation building process. Therefore, the authorities of the Ethiopian National Theater and the concerned bodies of the National Theater should revisit, its structure, objectives, mission, vision and the themes presented in the theaters. Moreover, the theater house should work more on original, indigenous and researched art works that build national identities and promote national commitment, consensus, peace, democracy and unity within the entire nation.
Film Scoring : Analysis on " Teza" and "Sankofa" Movies
(AdAddis Ababa University, 2021-09) Yoseph, Yersaw; Ezra, Abate
This research is to look at film scores in sankofa and Teza feature films. The goal of the study was to look into the influence of film scoring in shaping societal beliefs and habits. Using judgmental sample approaches, the researcher chose two feature films. Because the two feature films are thought to depict an African viewpoint. The researcher used a descriptive research design in conjunction with a qualitative research method. African filmmakers such as Haile Gerima, Ousmane Sembene, and Med Hondo are known for their historical documentaries. They regarded this viewpoint as equally valid as any other Eurocentric or Hollywood criterion. Because Africans have their own cinematic and musical culture, outsiders or Eurocentric/colonial standards should not judge them. Music is a cultural product, and culture is a critical component of social function. Music not only serves to express and perpetuate pre-existing human activities, but it also serves as a resource for contesting, negotiating, and creating new ones. This idea prompted the researcher to investigate how film scoring affects identity development using black cinema theory. Culture is the foundation for all identity development. Cinema can be a powerful tool for expressing culture, and film score is an important element of it. As a result, film music can be considered an aspect of an expressive medium of art. The purpose of this study was to examine how the film scores of two of Professor Haile Gerima's feature films, SANKOFA and TEZA, film scoring contributed to the story narration on black cinema thought and how it affects theoretical and practical identity development. The film composer and producers and other concerned stakeholders should give due attention to the film music so as to consider hold the attention of the audience and able to teach and conserve culture, practice, promote the conscious of the society.
Folk Music and Cultural Practices in the People of Sidama, Malga Clan
(Addis Ababa University, 2021-09) Birhane, Tigabu; Tadele, Tilahun
Music is a means for humans to reflect the course of their lives or the problems they face. Sadness, pleasure, love, hate, heroism, and good news may all be communicated through the using a variety of pitches. The Malga clan is rich in one-of-a-kind musical performances and cultural activities, particularly folk music. These intangible heritages are under jeopardy of losing historical validity and cultural value. To maintain Malga's folk music and cultural practices, it is necessary to do study, gather, analyze, and document such musical traditions. In the absence of significant written documentation and research in the field, the musical perceptions of both society and outsiders may skewed. The study's goal is to investigate folk music and cultural practices in people Sidama, specifically in the Malga clan. Thus, the ethnographic research technique was utilized to collect and formulate the required data for this investigation. The study, utilized purposive sampling approach; as a result, 35 participants were involved in the study. The technique of the field study preferred participant observation and semi-structured interviews. All gathered data analyzed qualitatively as well as all acquired data examined subjectively, and some recorded music transcribed to demonstrate the song's pattern by the researcher. All musical analysis also has made by the researcher only. The finding of this study shows that, the Malga clan have rich indigenous cultural and folk music performances. Their music has its own rhythm, melody, and performance style. The finding of this study contributes in documentation preservation of the culture and music of the clan. Moreover, it will fill the knowledge gap regarding Malga’s folk music and cultural practices. However, the study further indicates that the Malga clan application of folk music in the cultural practices endangered, with the loss and extinction of their cultural and historical significance, a decline in participation particularly in folk music performance. Furthermore, the researcher made some recommendations based on the study findings.
The Fundamental Characteristics of Ethiopia Pop- Music
(AdAddis Ababa University, 2020-09) Belay, Alemyehu; Aklilu, Zewdie
Ethiopian music has a rich and diverse musical tradition with thousands of years of experience in both religious as well as non-religious practices. Ethiopian „modern pop music‟ experience is a recent phenomenon. This study has the central aim of proving and exploring the existence of “golden time” and the reason why the name “golden time” was given to a certain period music production in Ethiopian popular music production history. The beginning and the ending time (years) of the so-called “golden time” is some how controversial that, it needs special attention to be determined. The formation of the orchestra (bands) and the role of instruments are the main elements to classify the period as golden or not. The research is basically based on investigating musical elements found in the recordings.The melodies, baselines, chords, melodic phrases (verse and chorus), the usages of music instruments for solo playing and improvisation, rhythmic structures, scales and the instrument that used dominantly are identified. Data obtained from interviews and focused group discussions with key informants from music background are used as main reference. Documents and archives in the title of Ethiopian music, are also used. Both qualitative and quantitative methods in the descriptive approach are important to be imployed to conduct this research. Generally, this study focused on investigating the elements of music productions done within the time frame of the period so-called “golden time” to determine as golden or not
The Fundamental Characteeristics of Ethiopian Pop Music
(Addis Abeba Unveristy, 2020-09) Belay, Alemayehu; Aklilu, Zewdie
Ethiopian music has a rich and diverse musical tradition with thousands of years of experience in both religious as well as non-religious practices. Ethiopian „modern pop music‟ experience is a recent phenomenonThis study has the central aim of proving and exploring the existence of “golden time” and the reason why the name “golden time” was given to a certain period music production in Ethiopian popular music production history. The beginning and the ending time (years) of the so-called “golden time” is some how controversial that, it needs special attention to be determined. The formation of the orchestra (bands) and the role of instruments are the main elements to classify the period as golden or notThe research is basically based on investigating musical elements found in the recordings.The melodies, baselines, chords, melodic phrases (verse and chorus), the usages of music instruments for solo playing and improvisation, rhythmic structures, scales and the instrument that used dominantly are identified. Data obtained from interviews and focused group discussions with key informants from music background are used as main reference. Documents and archives in the title of Ethiopian music, are also used. Both qualitative and quantitative methods in the descriptive approach are important to be imployed to conduct this research. Generally, this study focused on investigating the elements of music productions done within the time frame of the period so-called “golden time” to determine as golden or not
The Influence of Arab and Asian Traders On Harari Music and Cultural Identity
(AdAddis Ababa University, 2021-09) Binyam, Hailu Abebe; Ezra, Abate
The objective of this study is investigating how and why the Harari peoples Music and cultural Identity is different from the other parts of the Ethiopian people. This study has mainly focused on the forms and the scale and why this scale or music, forms and cultural identities are different from the other parts of Ethiopia. The study tried to compare music and cultural identity of Harar with other parts of Ethiopia. There are various forms of music practices in Harar especially in „Jogul‟, among these forms such as, ‘Salley‟( ሳላይ ),„Miras ( ሚራስ ), Dersey‟( ዯርሲ ).The study employed Ethnographic and descriptive research design. The research approach was qualitative approach. Sources of data were both primary and secondary sources. Simple random and purposive sampling techniques were employed in the research. Data collection instruments were questionnaire, interview and document analysis. The relevant primary data were collected through qualitative strategies such as interview, questionnaire and selected informants and from traditional Musicians who perform music in Harar. The secondary data were including published and unpublished articles, journals, books, videos and CD. Data analysis and interpretation is carried out by descriptive statistics and text narration of the data obtained from various sources. The Finding of the study pointed out that Harari music and culture is different from other parts of Ethiopia with its on styles which were influenced by Arab and Asian which were appeared in the area as a trader, solider and visitors. In addition the study identified on how the music is different and why this kind of scale is not found in other parts of Ethiopia and Harari Song, which is, Feqer (“simply song”) divides it to two, „gay feqer‟ (modern song) and „ada gay feqer‟ (cultural song”). Both Gay feqer and Ada gay feqer which shows the peculiarity of Harari music. Based on this the researcher recommend that further study need to be conducted regarding the importance of music, cultural identity and acculturation.
The Influence of Arab and Asian Traders On Harari Music and Cultural Identity
(Addis Ababa University, 2021-09) Binyam, Hailu; Ezra, Abate
The objective of this study is investigating how and why the Harari peoples Music and cultural Identity is different from the other parts of the Ethiopian people. This study has mainly focused on the forms and the scale and why this scale or music, forms and cultural identities are different from the other parts of Ethiopia. The study tried to compare music and cultural identity of Harar with other parts of Ethiopia. There are various forms of music practices in Harar especially in „Jogul‟, among these forms such as, ‘Salley‟(ሳላይ),„Miras (ሚራስ), Dersey‟(ዯርሲ).The study employed Ethnographic and descriptive research design. The research approach was qualitative approach. Sources of data were both primary and secondary sources. Simple random and purposive sampling techniques were employed in the research. Data collection instruments were questionnaire, interview and document analysis. The relevant primary data were collected through qualitative strategies such as interview, questionnaire and selected informants and from traditional Musicians who perform music in Harar. The secondary data were including published and unpublished articles, journals, books, videos and CD. Data analysis and interpretation is carried out by descriptive statistics and text narration of the data obtained from various sources. The Finding of the study pointed out that Harari music and culture is different from other parts of Ethiopia with its on styles which were influenced by Arab and Asian which were appeared in the area as a trader, solider and visitors. In addition the study identified on how the music is different and why this kind of scale is not found in other parts of Ethiopia and Harari Song, which is, Feqer (“simply song”) divides it to two, „gay feqer‟ (modern song) and „ada gay feqer‟ (cultural song”). Both Gay feqer and Ada gay feqer which shows the peculiarity of Harari music. Based on this the researcher recommend that further study need to be conducted regarding the importance of music, cultural identity and acculturation.
The Role of Ethiopian National Theatre Orchestra for the Development of Ethiopian Music during Emperor Haile Selassie I and Derg Regime
(Addis Ababa University, 2022-09) Grasella, Luigi; Aklilu, Zewdie
The main purpose of the study was to study the contribution of the Ethiopian National Theater Music Orchestra to the development of Ethiopian music from 1955-1991. The study usedexplanatory research design with quantitative research approach and was conducted by applying three main data collecting methods: primary data, secondary data and observation. In addition to this, key informant interview was applied as a tool to extract the main findings of primary data. In order to fully complete the study, various books written on the subject both locally and internationally were explored to complete the understanding of the study. From the likelihood inspecting strategy to maintain a strategic distance from bias and error simple Random sampling technique were utilized. The basic research questions were created 1) How was the development of the Ethiopian National Theater Orchestra during the era of Emperor Haile Selassie I and Derg Regime 2) How was the skill and skill of the artists of the Ethiopian National Theater Orchestra during the era of Emperor Selassie I and Derg? and 3) what was the major achievement of the orchestra and its later influence on the development of Ethiopian music. A total of 15 people were asked to respond to the key questions of the interview. Key informant interview and secondary data responses were organized and analyzed in depth. Finally, based on the conclusions of the study recommends that, the subject has been reached and the researcher has given recommendations on what and how the Ethiopian National Theatre, the Ministry of Culture and the relevant bodies should do for the next journey.
The Role of Folk Songs in Fiche - Chambalala Ceremony to preserve the cultural heritage of the Sidama people
(Addis Ababa University, 2022-09) Ephrem, Mulugeta; Messay, Gebremariam
The main objective of this study is to examine the role of folk songs of Sidamas’ Fiche - Chambalala Ceremony from socio-cultural value point of view and its roles towards cultural ceremony by transferring indigenous culture, knowledge to social development. The study also investigated the musical characteristics of Sidamas’ Fiche - Chambalala folk songs. A descriptive research design with qualitative research approaches is mainly preferred. Both primary and secondary data were collected. The data were collected through interviewing people from the study area, using focused group discussions, making non-participant observation, and document reviews. The respondents were selected through purposive sampling method. Data analysis was made using qualitative procedure. The findings of the study showed that folk songs in Fiche - Chambalala ceremony which have been the long-lived cultural asset that played a great role to the society, that carries the attributes and values of their culture, politics, economy, and religion of the society. The message of the songs that are sung at the Fiche - Chambalala ceremony play an important role in educating various tips and manners to the society, conveying different knowledge, stories, cultural assets, and values to the coming generations. The other point found out, in the study, was the Characteristics of Fiche - Chambalala folk songs in the three main types. These are “Qeexaala” (the elder’s song accompanied by, foot-tapping), “Horre” (unmarried women’s song accompanied by hand clapping) and “Faro” (a song played by unmarried young men and women together with dance), these songs have their own rhythm, melody, and performance style. They are mainly sung vocally (solo singer with chorus), in a call-and-response form, and have a monophonic texture. And most of the songs performed in the ceremony are based on the four-tone scale (modes).
Role Of Popular Songs On Ethnicity And Nationalism In Ethiopia Since 1991
(Addis Abeba University, 2021-09) Endale, Abate; Surafel, Wondimu
My thesis investigates the role of music in supporting or undermining ethnonational and Pan-Ethiopian national identities, as well as the major causes of their emergence, through a critical examination of Ethiopia's past historical narrative. I extensively explore the participation of music in national identity formation in the Derg and special emphasis on the Federal Democratic Republic of Ethiopia (FDRE) since 1991. In this project, I mainly deployed the qualitative research method. The main source of the data is songs. Some of the songs are acquired from the archive. The secondary source is mainly derived from open-ended interviews and questionnaires administered to my respondents, who are multidisciplinary intellectuals. Music is a medium that doesn’t go in a vacuum and also it is part of the process of the past historical narratives or discourses in Ethiopia. In this case, Music plays a major role in the formation of ethnonational and Pan-Ethiopian national identity in Ethiopia. This thesis is intended to show how the participation of music in the formation of identity politics and can create a collective identity formation in Ethiopia. In addition, music is a powerful tool for conflict transformation in Ethiopia, so that the government has to give more attention to the greater potential of music for conflict resolution. Therefore to study music is given the chance to understand a unique perspective about identity formation that can’t be found from the other field of studies like history and political science and also I believe that, this thesis provides a greater contribution to the scholar those who are interested in multidisciplinary research.
The Role of Popular Songs on Ethnicity and Nationalism in Ethiopia Since1991 G.C
(AdAddis Ababa University, 2021-09) Endale, Abate; Surafel, Wondimu
My thesis investigates the role of music in supporting or undermining ethnonational and Pan- Ethiopian national identities, as well as the major causes of their emergence, through a critical examination of Ethiopia's past historical narrative. I extensively explore the participation of music in national identity formation in the Derg and special emphasis on the Federal Democratic Republic of Ethiopia (FDRE) since 1991. In this project, I mainly deployed the qualitative research method. The main source of the data is songs. Some of the songs are acquired from the archive. The secondary source is mainly derived from open-ended interviews and questionnaires administered to my respondents, who are multidisciplinary intellectuals. Music is a medium that doesn’t go in a vacuum and also it is part of the process of the past historical narratives or discourses in Ethiopia. In this case, Music plays a major role in the formation of ethnonational and Pan-Ethiopian national identity in Ethiopia. This thesis is intended to show how the participation of music in the formation of identity politics and can create a collective identity formation in Ethiopia. In addition, music is a powerful tool for conflict transformation in Ethiopia, so that the government has to give more attention to the greater potential of music for conflict resolution. Therefore to study music is given the chance to understand a unique perspective about identity formation that can’t be found from the other field of studies like history and political science and also I believe that, this thesis provides a greater contribution to the scholar those who are interested in multidisciplinary research.
Women In The Ethiopian Music Industry
(Addis Abeba University, 2024-01) Yemisrach Melese; Selamawit Aragaw
This thesis aims to examine the participation of women in the Ethiopian music industry, identify the barriers they face, and propose solutions to promote greater women's involvement. The research focuses on factors that hinder women's role and representation in the music industry, specifically in Addis Ababa, Ethiopia. The study applies a qualitative research method, employing questionnaires and interviews as data collection tools. The questionnaire is administered to both male and female music students and graduates who are actively engaged in the Ethiopian music industry. Interviews are conducted with key informants, including individuals in influential positions in music institutions, music teachers, successful women musicians, and leaders of women ensemble groups. The findings reveal a gender imbalance in the music industry, with various factors identified as influencing women's participation, such as societal gender perceptions, parental influence, gender stereotyping, economic factors, limited support and opportunities, safety and security challenges, perceptions of teachers, lack of self-confidence, and beliefs. To empower women in the Ethiopian music industry, stakeholders such as music schools, cultural houses, governmental offices, families, society, male counterparts, successful women musicians, and the government should challenge stereotypes, provide support, foster collaboration, and create an inclusive environment for their success

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