Download - THE MUSIC OF SUB-SAHARAN AFRICA
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THE MUSIC OF SUB-SAHARAN AFRICA
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Sub-Saharan Africa is
extremely diverse
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We will explore the relationship between African music and the kinds of culture that produce it
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A Shona Mbira
performance in Zimbabwe
is our first case study
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Mbira music: "Nhemamusasa" Textbook CD 2, track 11
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The Pygmies are nomadic hunters and gathers of equatorial Africa
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They use vocal choirs, flute duets, trumpets made from tree bark or ivory, and the
musical bow
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BaMbuti vocal music: “Alima Girls’ Initiation
Music.” Textbook CD 2, track 12
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The Mande of West Africa come from Senegal and
Gambia
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Kora music: “Ala l’a ke” Textbook CD 2, track 13
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The Ewe of Ghana have club organizations that maintain semiprofessional drum and
dance troupes
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“Gadzo” Textbook
CD 2, track 14
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The Buganda Kingdom
desecrated musical
instruments after the 1962 insurrection
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Greetings and Praises
Performed on the Yoruba Dùndún
DrumTextbook CD 2,
track 15
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Musical Bow Played by a
BaMbuti Pygmy Textbook CD 2,
track 16
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Popular music in
the twentieth
century includes
West African highlife
brass bands
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I.K. Dairo and The Blue Spots,
“Salome” Textbook CD,
track 17
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“Chitima Ndikature” Thomas
Mapfumo and The Blacks Unlimited
Textbook CD 2, track 18
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Despite the diversity, a few underlying principles characterize the music of the
whole region
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Interlocking is the practice of fitting pitches into spaces between other
parts
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An example is the whole melody
created by a mbira player’s
two hands
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Call and response is very common
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Hocket is the interlocking
pitches between two or more
sources.An example is Pygmy vocal
music
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Dense, overlapping textures and
fuzzy timbres in overlapping drum
rhythms is common
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Ostinatos are the basic foundation of a performance
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Community participation is key
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The importance of rhythmic complexity is not to be
underestimated
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Summary
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Sub-Saharan Africa is a huge
area.There are,
however, some common general
musical characteristics
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African music favors ostinatos, polyphony, and
interlocking parts
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Musical performance is often a communal participatory activity
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Many musical performances
accompany religious or civic rituals
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Social structure and conditions influences music and performance
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Key instruments include
lamellaphones (the mbira), strings (the
kora), xylophones,
trumpets, flutes, musical bows,
and drums
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During the 20th century,
cosmopolitan musical
influences have been
incorporated into the African musical scene
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Is there an equivalent to
African interlocking in
Western music, and how might it
work?
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Is there an equivalent to African interlocking in an Asian music studied
thus far, and how does it work?
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Why would Pygmy communal living bear an influence on vocal hocket?
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Why would Pygmy nomadic
life prevent Pygmies from using many
musical instruments?
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Why do the words of the jali have as much importance as
writing?
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Are there equivalents to the
jali in Western music, and what
do they say?
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Does our popular music use drumming in the same manner as African
drumming, or is it different?
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What might befall an
African court music tradition in the event of
political insurrection,
and how could it be guarded?
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How have traditional African
musical instruments and styles survived in
the rapidly changing world?