3 days ago
From soul to spectacle: How Iraqi music lost its voice
Shafaq News/ Once steeped in spiritual and emotional richness, Iraq's music now struggles against noise, nostalgia, and a shifting cultural identity. Despite its historical richness and deep emotional resonance, Iraqi music has steadily lost much of its identity, nuance, and poetic core—deteriorating under the weight of social transformation and political turbulence.
Today, critics argue, Iraqi music is no longer guided by artistic intent or heritage but by superficial rhythms designed to 'make shoulders move,' as one folklorist described.
Historical Foundations
Iraq's musical heritage stretches back thousands of years, with significant development over time—particularly after the introduction of the oud and the addition of its fifth string, as well as refinements in rhythm and the evolution of the Iraqi maqam (musical mode).
The 1920s marked a golden era, witnessing the emergence of prominent female vocalists. Later decades brought a new generation of influential composers such as Abbas Jamil, Nazem Naeem, Mohammed Nushi, Koukab Hamza, Jaafar Al-Khafaf, and Talib Al-Qaraghuli, whose melodies remain etched in the nation's collective memory.
Sufi Roots and Identity
The 20th century witnessed a global musical revolution. Western composers like Igor Stravinsky and Arnold Schoenberg broke classical conventions, while jazz, blues, rock, and electronic music reshaped cultural norms. Technological innovation accelerated music production and access—digitization and online platforms have made music more available than ever before.
Iraq's music still bears a distinct cultural signature. 'Mesopotamian music has characteristics unlike any other musical form in the world,' Nasser Jamal, a member of the National Music Ensemble, indicated in an interview with Shafaq News. 'These rhythms are not found elsewhere. Iraq's musical legacy is essentially a Sufi one, originating in ancient temples and religious traditions of Mesopotamia.'
The 1950s saw the widespread popularization of maqam-infused songs, with Jewish Iraqi composers like Saleh and Daoud Al-Kuwaiti playing foundational roles. Jamal emphasized that even the most iconic works of that era were anchored in maqam.
The 1970s then brought a major transformation, particularly through the merging of rural music into the Baghdadi soundscape—infusing compositions with sorrow and longing. Figures like Talib Al-Qaraghuli, Mohammed Jawad Amouri, and Mohsen Farhan defined the tone of the decade.
But in the 1980s, music became an instrument of political propaganda. 'Nearly all compositions were militarized to serve the regime, with only rare exceptions,' Jamal said.
The 1990s carried a unique identity of their own. Jamal suggests that many of those songs deserve to be musically re-arranged today, as they mark a stylistic shift distinct from other eras.
Cultural Reflection
Music in Iraq has long served as a reflection of cultural, political, and social shifts. Yet even amid decades of change, its signature melancholy tones have remained a defining feature.
'The sorrowful melodies are among the most prominent characteristics of Iraqi music,' composer Mohammed Al-Khazaali told Shafaq News, adding that they reflect the emotional turbulence of Iraqi society.
Al-Khazaali notes that the music of the 1970s represents a high point. 'That era produced beautiful voices, graceful compositions, and poetic lyrics. Iraqi songs ranked second in the Arab world after Egypt in terms of influence and reach,' he stated. Then, Iraqi music veered away from these foundations, degenerating into indecent lyrics and erratic compositions.
This decline is attributed to Iraq's volatile environment and harsh socio-political changes, according to Al-Khazaali. However, he sees hope in initiatives like the Iraqi Symphony Orchestra and the Dajla Birds Ensemble led by Maestro Alaa Majid, who are reviving the country's musical heritage through live performances. He also credits the Musicians' Syndicate and the Iraqi Musicians' Association for promoting quality compositions that still appeal to refined tastes.
From Song to Spectacle
Heritage and folklore critic Ali Shibib sees today's music as lacking in artistic depth. 'Contemporary Iraqi songs rely heavily on technology,' he told our agency. 'But instead of using it to enhance musical integrity, it's mostly used to create shoulder-shaking beats—without structure or sophistication.'
Shibib believes that lyrics are now shaped more by consumer trends than cultural consciousness. 'Modern remixes often distort the original compositions. Attempts to modernize old songs are usually unstudied and superficial.'
Rise of the Noise
Maestro Ahmad Abdul-Jabbar, artistic director at the School of Music and Ballet, laments what he calls the rise of 'noise.' 'Iraqi music used to be rooted in authenticity and heritage. Today, it's buried under chaotic sounds that stray from its core principles.'
Speaking with our agency, he acknowledges that 1990s music differed from that of the 1970s—especially in tempo—but still preserved its beauty and soul. 'Now, Iraqi music has become a hybrid of noise and shallow melody,' he said. 'It lacks artistic depth and fails to represent the country's civilization and cultural heritage.'
Despite this, Abdul-Jabbar believes the foundational elements of Iraqi music are resilient. 'It remains a distinctive form—immune, to some extent, to the randomness flooding the music market today.'
