Introduction to World Music, SMSU1 Section Five: African Music Population over 800 million (2000 estimate); extremely diversified languages & cultures;
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Introduction to World Music, SMSU 1
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Section Five: African Music
Population over 800 million (2000 estimate);
extremely diversified languages & cultures;
Continuously changing for thousands of years.
Introduction to World Music, SMSU 2
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Cultural Groups
Many ethnic groups, languages and style areas throughout continent
Ideally the songs, language, oral literature, instrumental music, theater arts and dance should all be explored together.
Sharing occurs between groups with cultural similarities (language, region, etc.)
Outside influence started long ago, mostly in Northern and Eastern Africa
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North Africa & the Sahara Desert
Much Muslim and Arabic influence
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The SavannahRegion
Mostly indigenous culture, with some Arabic influence; much sharing of culture between peoples
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The Rain Forest Region
Less influenced by outsiders; Musically diverse
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The Congo Basin
Stylistically simplified compared to other large regoins
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East and South Africa
Cattle area; simpler music; drums less important, much use of xylophones, harps, lyres
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Madagascar
SE Asian influence; also French and Indian influence
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Early Instruments
Early history: the musical bow
Also plucked lutes; harps.
Rock engraving of an eight-string harp found 18th century bce (south of the Sahara). Many types of African harps, but no harps south of equator.
8th to 14th centuries, bells and gongs found. Written accounts in 1586, gourd-resonated xylophones
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Much Research Has Been New
Since the 1930s, an increase of studies, especially interlocking drumming patterns
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Cultural Elements
Music and dance are inseparable
Ancestor reverence (worship?); specialists recounting stories of powerful families and important rulers.
The social roles of the so-called talking drums of West and Central Africa (the pitch can be changed by pushing on or squeezing drum)
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Dance/Music Usage
Dances often serve ritual purposes, marking stages of life involving music (initiation rites, weddings, funerals, ancestral ceremonies, etc.) or trance states
Often, dances are social with only veiled ritual purpose, if any.
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Dances Typically in Groups and in Circles or Lines
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Musical Traditions
Generally learned through oral tradition to students deemed worthy of training by virtue of ancestry.
In socially stratified societies, musical professionalism by jalolu (Griot) or by specialized court musicians.
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Musical Qualities Found in Much African Music
Repetition
Chorus, some solo
Participation: call-and-response, overlapping, some parallel singing
Rhythm: well-blended, maintained, polyrhythm, polymetric, syncopation
Accompanied by body movement such as hand-clapping, dance and work.
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Musical Qualities (cont.)
Forceful approach
Little ornamentation
Pentatonic scales, some hexatonic
Aesthetic often includes buzzing, rattling sounds
Subject matter includes animals stories, love, dance, relationships
Songs are often integrated into story-telling.
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African Rhythm Characteristics
Always at least two rhythms going on
3:2 relationship is central
Cross-rhythms: conflicting rhythmic patterns &
accents
Integrally tied to dance, and so in some variety of
duple or triple time (4/4 or 12/8)
“Rhythm is to the African as Harmony is to the
European”
Chernoff, John Miller, African Rhythm and African Sensibility, University of Chicago Press, Chicago, 1979.
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Example: Ake (Nigerian Work Song)
Instruments/Voices
Function/Importance within Culture
Musical Characteristics (Form, melody, harmony, rhythm, etc.)
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Musical Instruments
Idiophones: clap-sticks, bells, rattles, struck/shaken gourds, stamping tubes, xylophones, mbiras (thumb pianos).
Membranophone: drums of all sorts.
Chordophones: musical bow, lute, lyre, harp, and zither.
Aerophones: flute, whistle, oboe, and trumpet.
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Idiophones
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Xylophones
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Harps
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Ghana
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Ghana: Geography and Economy
Near equator, coastline, in rain forest, heavily wooded hills, many rivers.
“Ashanti” area; cocoa, minerals, timber. North: low bush, savannah; 64-102 degrees
Agriculture, fishing, forestry. Major cash crop is cocoa, also crops are rice, coffee, cassava, peanuts, and corn. Export cocoa, gold, timber, and various minerals.
Introduction to World Music, SMSU 25
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Agbekor: Music and Dance of the Ewe People
Originally performed for war
Linked to legend of monkey dance; a monkey beating stick inspired the dance
Agbekor signifies enjoying life, and sacred oath to ancestors to fight bravely; “clear life”
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Learning and Performing AgbekorRequires special training due to complexity
Rarely performed in villages now, but often performed in societies (mutual aid organizations, school and civic youth groups, theatrical performing companies)
The writer visited Anya Agbekor Society of Accra, dedicated to remembering old family members.
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Agbekor: basic drumming patterns
The first pattern is played by the double bell:
It is ubiquitous to nearly all of Africa.
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Agbekor: drumming patterns (cont.)
The next pattern to feel is the rattle & handclap pattern.
What division of the meter are we stressing?
Is it what you thought we would be playing?
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Agbekor
fullbackgroundpattern
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A Performance at a Wake
Ten Drummers at one end
Columns of dancers face the drummers
Singers behind the dancers in a semicircle
300 onlookers
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The actual eventAdzo, dancers sing in free rhythm
Then Vutsotsoe, fast drumming
Various words like “Aa-oo” summon the spirits of the departed ancestors
Dancing shows readiness to act in the manner of the ancestors
Several more songs
The adzokpi section begins; pairs of dancers or groups dance in front of the lead drummer.
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The actual event (cont.)Drummer plays special ending figure.
Groups leaders go to the center of dance and to pour water/libation to call for blessings from deceased member.
Vulolo, or slow drumming
Vutsotsoe, up-tempo section
Final adzokpi section, elders, patrons, etc. enter the dance floor for a while.
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Agbekor Instruments
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AxatseGankogui
KaganuKidi
Sogo
Atsimevu
Source: www.dancedrummer.com
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Conclusions about African Music Traditions
African music-cultures strongly linked to community
Construction and playing of musical instruments
Spontaneous performances
Music serves functions
Fosters group participation
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Mande People of Mali
Lambango (CD 1:13) Mariatu Kuyateh, Kekuta Suso (kora), and Seni Jobateh
Griots (Jalolu) = professional musicians who transmit oral history (of Mande people) through song.
Kora = indigenous African “spiked-bridge” harp
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Kora
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Dagbamba of Ghana
Lunsi = hereditary clan of drummers; serve as verbal artist, counselor, cultural expert, etc.
Gung-gong & lunga drums (specific names for double-headed drums)
“Nag Biegu” (CD 1:14)
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Shona of Zimbabwe
Mbira = “thumb piano”
“Nhemamusasa” (CD 1:15)
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Mbira is often placed inside aDeze (gourd resonator)
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BaAka People of central Africa (Congo Basin)
“Forest People,” “pygmies,” a unique culture
“Makala” a Mabo (net hunting) song (CD 1:16)
Improvised, open-ended polyphonic vocal musical style with all people participating. How does this express the culture?
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Djembe
The Djembe is the drum of the Mandinka people (Guinea), and its origins dates back to the great
Mali Empire of the 12th century.
VERY popular drum world-wide
Mamady Keitahttp://www.radioceros.com/ondemandvideo/mamadykeita/mamadykeita
.htmJuju Music
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Contemporary Musicians Seeking Identities and Names
Many musicians in Africa are fighting Disco and other Western styles, and hoping to keep African elements in the popular music.
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Assignment
I. Explain how a cross rhythm works. Give a specific example from a piece we have studied.
II. What is a lunsi, and what instrument is he associated with?
III. What is a griot, and what instrument are they associated with?
IV. How does “call and response” function in an actual social situation?
V. What impressed you most about this section (African music)? How and Why?
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