Born in the early 1950s in Qamishli, a Kurdish city in Syria, Mohammed Aziz Zaza’s beginnings were modest, but he soon discovered in himself a love of music. Zaza’s early encounters with music were simple, crafting primitive instruments from wooden boxes and tin cans and discovering melodies by tinkering with strings and wires. It was a humble beginning, but one that nevertheless sparked a lifelong love of music.
“Music found me,” Zaza recalls, who enjoyed listening to music on the radio after it had begun to spread throughout Qamishli.
One summer, while sitting in his family’s orchard, he noticed a tanbur, a traditional, long-necked string instrument, reclining in the shade of the trees. The musician began singing and playing it.
“It was a turning point for me,” Zaza explained. “My eyes welled up with tears of ecstasy when I heard the simple chords I was playing.”
Zaza, now a renowned Kurdish musician, was driven by a desire to refine his skills. He pursued higher education in Prague, Czech Republic, completing a diploma from the State Conservatory, followed by a master’s degree and a doctorate in musical sciences from Charles University.
Despite his qualifications, Zaza faced challenges in securing a teaching position in his home country due to political constraints; being a Kurd made it difficult for him to establish an academic career in Syria. Instead, he began a successful seven-year period of employment in Algeria, where he established the Department of Music at the Higher School of Teachers.
However, conditions in the country began to worsen. Zaza described how colleges and universities across Algeria became breeding grounds for extremist Islamic groups, with the music department specifically targeted by threats. The situation grew increasingly intense, with extremists regularly intimidating and threatening anyone involved in seminars or musical activities within the department.
Facing personal threats from these extremists and witnessing the social and economic deterioration of Algeria, Zaza made the difficult decision to leave the country in 1991. He relocated to Libya, where he secured a position as a lecturer in the Music Department at the Faculty of Arts at the University of Tripoli.
Incorporating both Eastern and Western musical traditions
Zaza continued to perform and compose throughout his teaching career, but his legacy extends even further. Among Arab musicians, he is widely recognized for his books Diatonic and Chromatic Harmonies and The Science of Counterpoint in Music, which filled a critical gap in Arabic music education. His writings emphasize the importance of incorporating both Eastern and Western musical traditions.
Later, he also developed the curriculum for the Music Department at the Faculty of Arts at Salahaddin University-Erbil in the Kurdistan Region of Iraq. Notably, his curriculum mandated that students specializing in the piano must also master an oriental instrument like the oud or qanun as a secondary pursuit. Likewise, those focusing on the oud were required to delve into harmonic instruments such as the guitar or piano. This approach aimed to cultivate a new generation of musicians with a comprehensive understanding of both local and international musical cultures.
“I wanted to ensure that aspiring musicians had access to comprehensive resources that honored both Eastern and Western musical traditions,” reaffirmed Zaza.
Looking at the broader landscape of Kurdish music, Zaza acknowledges the historical richness and diversity of Kurdish music. He highlights various Kurdish musical forms such as Lauk, Hairan, and Allalawaisi, each with its unique characteristics and significance. He stresses the importance of appreciating each culture’s music on its own terms, avoiding comparisons that could lead to a “cultural invasion.”
As a listener, Zaza enjoys a wide range of music, from Beethoven and Mozart to Kurdish singers like Kawais Agha and Muhammad Arif Jaziri. He also likes Sivan Perwer, and the rich creativity of the Kamkars, and admires the work of Arab composers like Mohamed Abdel Wahab and Fairuz.
“I was very influenced by Beethoven,” Zaza says. “I used to, and still do, consider him a role model on the artistic and intellectual levels.”
Today, Zaza lives in Canada and continues to be actively engaged in music. He is working on new pieces for the classical guitar, reprinting his books, and mentoring doctoral and master’s students in the musical department at the University of Salahaddin in Erbil. He also finds time to keep his playing skills sharp on his instruments.
