Middle Kingdom. Cymbals frequently accompanied music and dance, much as they still do in Egypt today. Medieval music Early Middle Eastern music was influenced by Byzantine and Roman forms, which were themselves heavily influenced by earlier Greek, Semitic, and Ancient Egyptian music. Egyptians in Medieval Cairo believed that music exercised "too powerful an effect upon the passions, and leading men into gaiety, dissipation and vice." However, Egyptians generally were very fond of music. Though, according to E.W. Lane, no "man of sense" would ever become a musician, music was a key part of society. Tradesmen of every occupation used music during work and schools taught the Quran by chanting. The music of Medieval Egypt was derived from Ancient Egyptian and Byzantine traditions. Lane said that "the most remarkable peculiarity of the Arabic system of music is the division of tones into thirds," although today Western musicologists prefer to say that Arabic music's tones are divided into quarters. The songs of this period were similar in sound and simple, within a small range of tones. Egyptian song, though simple in form, is embellished by the singer. Distinct enunciation and a quavering voice are also characteristics of Egyptian singing. Male professional musicians during this period were called Alateeyeh (plural), or Alatee (singular), which means "a player upon an instrument". However, this name applies to both vocalists as well as instrumentalists. This position was considered disreputable and lowly. However, musicians found work singing or playing at parties to entertain the company. They generally made three shillings a night, but earned more by the guests' givings. Female professional musicians were called Awalim (pl) or Al’meh, which means a learned female. These singers were often hired on the occasion of a celebration in the harem of a wealthy person. They were not with the harem, but in an elevated room that was concealed by a screen so as not to be seen by either the harem or the master of the house. The female Awalim were more highly paid than male performers and more highly regarded than the Alateeyeh as well. Lane relates an instance of a female performer who so enraptured her audience that she earned up to fifty guineas for one night's performance from the guests and host, themselves not considered wealthy. Modern Egyptian classical and pop music In the second half of the 19th century, the Egyptian folk street music band Hasaballah,