History of Music in Madagascar

The music of Madagascar is highly different and it has been shaped by the musical traditions of Southeast Asia, Arabic, France, African, England and the United States as successive trends of settlers that have made the island their home. The traditional instruments show these widespread roots: the mandolin and kabosy outstanding their existence to the fundamental of the guitar by the early Arab and the European sailor, the global djembe coined in mainland African and the valiha and the bamboo tube zither is considered as the national instrument of Madagascar which directly changed from an earlier form of zither carried with the first Austronesian immigrant on their beam canoes.

source of picture: en.wikipedia.org

Malagasy music is divided into three parts; the traditional, current and famous music. The traditional musical patterns differ by place and see local ethnographic record. For example, in the Highlands, the valiha and subdued vocal patterns are symbolic of the Merina, the mainly Austronesian ethnic group that occupied the place since the 15^th century, whereas among the southern Bara tribes who draw their lineage back to the African mainland and their cappella vocal customs bear close resemblance to the polyphonic singing pattern common to South Africa. Foreign instruments like piano and acoustic guitar have been improved locally to make special Malagasy types of music. The current Malagasy musical patterns such as tte salegy or tsapika have changed from traditional patterns renovate by the incorporation of electric guitar, drums, bass and synthesizer. Many western patterns of the renowned music including the gospel, jazz, rock hip hop, reggae and folk rock have also achieved popularity in Madagascar over the later part of the 20^th century.

Madagascar music has served a change of sacred and profane functions. In addition on performance for entertainment or personal creative expression the music has played a major role in spiritual ceremonies, cultural activities and historic and current political functions. During the late 19^th century, certain instruments and kinds of music became mainly associated with the specific classes or ethnic groups, though these divisions have always been unsolidified and are continually changing.