Assyrian folk-pop music

Some songs by Evin Agassi at the turn of the millennium had profusely used the Andalusian cadence due to influence of Latin pop at the time.

Although many forms of Assyrian records do use acoustic and orchestral instruments such as strings, pianos, saxophones and violins.

[2] Here are a few types of tribal Assyrian Music that has survived to this day, especially in the Assyrian villages and towns of northern Iraq, southeastern Turkey, northwestern Iran and northeastern Syria: It was in the Assyrian homeland north of Mosul that people started to write the vernacular, more than two hundred years before the earliest British missionaries, although the earliest records of the Syriac language date from 5th century BC Achaemenid Assyria.

World War II brought them in direct contact with the west, especially the British Army in Iraq, Russians in Urmia and the French in Syria.

Albert Rouel Tamras releases his first records in Baghdad in 1966 on Bashirphone label owned by Jameil Bashir an Assyrian Iraqi oud and violin soloist.

Singing in the background with Albert are Biba and Sargon Gabriel, two singers who would later become notable figures in modern Assyrian music in the United States.

In the 1990s and 2000s, Assyrian artists routinely fused in the traditional sounds of zurna and dawola conjured by electronic keyboards, as synthesized music got popular at that time.

The Latin genre became popular in the late 1990s with instruments such as the Flamenco guitar being featured abundantly in Assyrian songs.

Despite rock's unpopularity, there exists an Assyrian-Armenian metal band called Melechesh, which has extensive Assyrian-Mesopotamian influences both lyrically and instrumentally.

Songs in mountainous dialects, such as Tyari, are usually of the folk-dance music genre and would attract certain audiences.