Somali people have a rich musical heritage centered on traditional Somali folklore. Somali songs are pentatonic. That is, they only use five pitches per octave in contrast to a heptatonic scale such as the major scale. At first listen, Somali music might be mistaken for the sounds of nearby regions such as Ethiopia, Sudan or the Arabian peninsula, but it is ultimately recognizable by its own unique tunes and styles. Somali songs are usually the product of collaboration between lyricists, songwriters, and vocalists. Traditional instruments prominently featured in the music of the northern areas include the oudlute. It is often accompanied by small drums and a reedflute in the background. However, heavy percussion and metallic sounds are uncommon in the north. The southern riverine and coastal areas use a wide variety of traditional instruments including:
Membranophones: nasaro, mokhoddon and masoondhe, reeme, jabbu and yoome ;
Aerophones: malkad and siinbaar, sumaari, fuugwobuun, muufe and gees-goodir ;
The first major form of modern Somali music began in the mid-1930s, when Somaliland was a part of the British Somaliland protectorate. This style of music was known as dhaanto, an innovative, urban form of Somali folk dance and song. This period also saw the rise of the Haji Bal Bal Dance Troupe, which became very influential over the course of its long career. , popularly known as the father of Somali music. Somali popular music began with the balwo style, pioneered by Abdi Sinimo, who rose to fame in the early 1940s. This new genre then in turn created the Heelo style of Somali music. Abdi's innovation and passion for music revolutionized Somali music forever. Introduction of melody in modern Somali song is credited to Abdullahi Qarshe, who is recognised for introducing the kaban as an accompaniment to Somali music. Qarshe is revered by Somalis as "father of Somali music". Many qaraami songs from this era are still extremely popular today. This musical style is mostly played on the kaban. Prominent Somali kaban players of the 1950s include Ali Feiruz and Mohamed Nahari. During fascist Somalia, music was suppressed except for a small amount of officially sanctioned music. There were many protest songs produced during this period. Bands such as Waaberi and Horseed have gained a small following outside of the country. Others, like Ahmed Ali Egal, Maryam Mursal and Waayaha Cusub have fused traditional Somali music with pop, rock and roll, bossa nova, jazz, and other modern influences. Music recorded in the 1970s was preserved in Hargeisa, buried underground, and is now available at the Red Sea Foundation at the Hargeisa Cultural Center, and in Radio Hargeisa. The Barre dictatorial regime effectively nationalised the music scene, with bands and production under state control. Bands were operated bythe police, the army and the national penitentiary. Female singers were encouraged more than was the case in most of East Africa. Most musicians had left the country before 1991. Hiddo Dhawr is now operating as the only live music venue in the city.
Music institutions
The first radio station in Somalia to air popular Somali music was Radio Kudu based in Hargeisa, Somaliland. It started broadcasting in 1943 in English, Somali and Arabic, before being renamed the following year to Radio Somali. Somali music is now regularly broadcast on the state-run Radio Mogadishu, as well as a number of private radio and popular television networks such as Horn Cable Television.
