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Section Five:

African Music
Population over 800
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extremely diversified
languages & cultures;

Continuously changing
for thousands of years.

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Cultural Groups
Many ethnic groups, languages and style
areas throughout continent
Ideally the songs, language, oral literature,
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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
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Much Muslim and


Arabic influence

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The
Savannah
Region
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culture, with some


Arabic influence;
much sharing of
culture between
peoples
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The Rain
Forest Region
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Less influenced by
outsiders;
Musically diverse

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The Congo
Basin
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simplified
compared to other
large regoins

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East and
South Africa

Cattle area; simpler QuickTime™ and a


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music; drums less


important, much
use of xylophones,
harps, lyres

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Madagascar

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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 QuickTime™ and a
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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.
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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 QuickTime™ and a
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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
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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, QuickTime™ and a

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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
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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 QuickTime™ and a
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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,
Introduction 1979.
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Example: Ake
(Nigerian Work Song)

Instruments/Voices QuickTime™ and a


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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. QuickTime™ and a
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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
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Agriculture, fishing, forestry. Major cash


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crop is cocoa, also crops are rice, coffee,


cassava, peanuts, and corn. Export
cocoa, gold, timber, and various minerals.

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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
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Agbekor signifies enjoying life, and


sacred oath to ancestors to fight
bravely; “clear life”

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Learning and Performing Agbekor
Requires special training due to
complexity
Rarely performed in villages now, but
often performed in societies (mutual aid
organizations, school and civic youth QuickTime™ and a
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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:

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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.

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What division of the meter are we stressing?


Is it what you thought we would be playing?

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Agbekor

full
background
pattern
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A Performance at a Wake

Ten Drummers at one end


Columns of dancers face the
drummers
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semicircle
300 onlookers

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The actual event
Adzo, 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 QuickTime™ and a
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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.
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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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Axatse
Gankogui
Kaganu
Kidi
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
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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 QuickTime™ and a


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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.
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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”

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Mbira is often placed inside a


Deze (gourd resonator)

“Nhemamusasa” (CD 1:15) Introduction to World Music, SMSU 38


BaAka People of central Africa
(Congo Basin)
“Forest People,” “pygmies,” a unique
culture
“Makala” a Mabo (net hunting) song QuickTime™ and a

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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.
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VERY popular drum world-wide

Mamady Keita
http://www.radioceros.
com/ondemandvideo/mamadykeita/mamadykeita
.htm Juju 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
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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?

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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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