THE MUSIC OF SUB-SAHARAN AFRICA

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Slide 1

THE MUSIC OF SUB-SAHARAN AFRICA

Slide 2

Sub-Saharan Africa is to a great degree different

Slide 3

We will investigate the relationship between African music and the sorts of culture that create it

Slide 4

A Shona Mbira execution in Zimbabwe is our first contextual analysis

Slide 5

Mbira music: "Nhemamusasa" Textbook CD 2, track 11

Slide 6

The Pygmies are traveling seekers and accumulates of tropical Africa

Slide 7

They utilize vocal choirs, woodwind two part harmonies, trumpets produced using tree rind or ivory, and the musical bow

Slide 8

BaMbuti vocal music: "Alima Girls' Initiation Music." Textbook CD 2, track 12

Slide 9

The Mande of West Africa originate from Senegal and Gambia

Slide 10

Kora music: "Ala l'a ke" Textbook CD 2, track 13

Slide 11

The Ewe of Ghana have club associations that keep up amateur drum and move troupes

Slide 12

"Gadzo" Textbook CD 2, track 14

Slide 13

The Buganda Kingdom despoiled musical instruments after the 1962 insurgence

Slide 14

Greetings and Praises Performed on the Yoruba Dùndún Drum Textbook CD 2, track 15

Slide 15

Musical Bow Played by a BaMbuti Pygmy Textbook CD 2, track 16

Slide 16

Popular music in the twentieth century incorporates West African highlife metal groups

Slide 17

I.K. Dairo and The Blue Spots, "Salome" Textbook CD, track 17

Slide 18

"Chitima Ndikature" Thomas Mapfumo and The Blacks Unlimited Textbook CD 2, track 18

Slide 19

Despite the assorted qualities, a couple of fundamental standards describe the music of the entire locale

Slide 20

Interlocking is the act of fitting pitches into spaces between different parts

Slide 21

An illustration is the entire song made by a mbira player's two hands

Slide 22

Call and reaction is exceptionally basic

Slide 23

Hocket is the interlocking pitches between at least two sources. An illustration is Pygmy vocal music

Slide 24

Dense, covering surfaces and fluffy timbres in covering drum rhythms is regular

Slide 25

Ostinatos are the essential establishment of an execution

Slide 26

Community investment is vital

Slide 27

The significance of cadenced intricacy is not to be belittled

Slide 28

Summary

Slide 29

Sub-Saharan Africa is a gigantic territory. There are, be that as it may, some basic general musical attributes

Slide 30

African music favors ostinatos, polyphony, and interlocking parts

Slide 31

Musical execution is frequently a shared participatory movement

Slide 32

Many musical exhibitions go with religious or municipal ceremonies

Slide 33

Social structure and conditions impacts music and execution

Slide 34

Key instruments incorporate lamellaphones (the mbira), strings (the kora), xylophones, trumpets, woodwinds, musical bows, and drums

Slide 35

During the twentieth century, cosmopolitan musical impacts have been consolidated into the African musical scene

Slide 36

Is there a proportional to African interlocking in Western music, and in what capacity may it work?

Slide 37

Is there an equal to African interlocking in an Asian music concentrated up to this point, and how can it work?

Slide 38

Why might Pygmy common living bear an impact on vocal hocket?

Slide 39

Why might Pygmy itinerant life keep Pygmies from utilizing numerous musical instruments?

Slide 40

Why do the expressions of the jali have as much significance as composing?

Slide 41

Are there reciprocals to the jali in Western music, and what do they say?

Slide 42

Does our mainstream music utilize drumming in an indistinguishable way from African drumming, or is it diverse?

Slide 43

What may come upon an African court music custom in case of political uprising, and how might it be able to be watched?

Slide 44

How have customary African musical instruments and styles made due in the quickly evolving world?

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