CHAPTER 10—MUSICAL CONVERSATIONS: Communication and collective expression in West African music

Instruments and Basic Rhythm Patterns Gongon = metal bell (such as cowbell, gankogui, etc.) From = low-pitched drum Atumpan= medium-pitched drum Eguankoba = high-pitched drum

Akan Fontomfrom music, Eyisam Mbensuon, CD ex. # 2-22

Gongon rhythm pattern

Section Comments/Observations

0:00—0:32

0:00

From signals beginning of performance

0:02

Gongon entry

Section Comments/Observations

0:08

Atumpan and Eguankoba enter

0:27

Drum rhythms become more clearly synchronized

0:33—0:47

0:48—1:02

1:03—1:32

1:33—end

Musical Africanisms

Using the following chart to create a reference guide to these Africanisms for use in subsequent listening experiences.

When discussing the list provided on pages 195-196, refer to musical examples drawn from CD ex. #2-22.

Musical Africanism Description/Explanation

Complex polyphonic textures

Layered ostinatos with varied repetition

Conversational element

Improvisation

Timbral variety

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Musical Africanism Description/Explanation

Distinctive pitch systems and scales

“Dounuya,” Seckou Keita, CD ex. # 2-24

Dounuya serves as an introduction to the kora and to traditional jeliya musical style. This selection features a text that operates at several levels simultaneously, as well as a layered ostinato-based style of kora playing.

Listen to CD ex. # 2-24, then use the following chart to record observations.

Section Comments/Observations

0:00—0:09

0:10—0:24

0:25—0:29

0:30—1:08

1:09—1:40

1:41—2:14

2:15—2:56

2:57—end

“Atlanta Kaira,” Toumani Diabete, Taj Mahal, and Ensemble, CD ex. # 2-25

Listen to CD ex. # 2-25, then use the following chart to record comments and observations.

Section Comments/Observations

Solo kora introduction 0:00—0:42

Ensemble introduction to “Kaira” song 0:42—0:52

“Kaira” song 0:53—1:28

Sataro # 1 1:29—2:50

Koni solo 2:51—3:32

Sataro # 2 3:33-4:21

Return of “Kairo” song 4:22—end

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Western African Collective Expression in a Global Musical World

“Okan Bale,” Angelique Kidjo, CD ex. # 2-26

“Okan Bale” is a lush pop ballad with a decidedly pan-African musical flavor. Listen to CD ex. # 2-26, then use the following chart to record observations. Focus on the features of musical dialogue and the style of Mamadou’s kora playing.

Section Comments/Observations

Introduction 0:00—0:35

First Verse 0:36—0:57

First Bridge Section 0:58—1:18

First Chorus 1:19—1:51

Interlude (“Reprise” of introduction) 1:52—2:13

Second Verse 2:14—2:35

Second Bridge Section 2:36—2:57

Second Chorus 2:58—end

Additional Resources

Visit the Online Learning Center at www.mhhe.com/bakan1 for additional learning aids, study help, and resources that supplement the content of this chapter.

Visit www.smithsonianglobalsound.org and explore other audio and video examples from the cultures and styles discussed in this chapter. Visit http://internationalmuzic.net and explore other audio and video examples from the cultures and styles discussed in this chapter. Websites www.taj-mo-roots.com www.coraconnection.com/pages/toumani.html www.angeliquekidjo.com

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Chapter 10 Journal Part 1: Information

Key terms Definitions or explanations or comments

Akan

Drum speech

Tonal language (e.g., Twi)

Atumpan

Polyvocality (in West African music)

Kora

Mande

Jeliya

Griot

African diaspora

Fontomfrom

Key terms Definitions or explanations or comments

Africanisms (musical)

Jeli

Hereditary jeli families (Kouyate, Diabate, Sissoko)

Praise songs (in jeliya)

Bala

Koni

Kumbengo

Birimintingo

Sataro

Sauta

Fon

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Supplemental Listening Examples 1 Obanu Obo Addy and Okropong Ghana Royal ceremonial music that, until recently, was not played outside

the royal house. The layered patterns tell stories to those who understand the language.

2 Nabaya Foday Musa Suso Senegal This song is about a boy flirting with a beautiful girl, but she puts

him down saying, “What?! So you think my beads are for everyone? Foolish man! I have saved them for only one boy.” The boy replies, “What a shame! Your beads are very powerful - so many of us have been bewitched by them!”

3 Soutoukou Mamadou Diabate Mali This is another example of the music of the griot.

4 Joejoe Yalal Joe S. E. Rogie Sierra Leone Palm wine music – an expression of people’s daily experiences.

“With his mellow guitar and smiling vocals, S. E. Rogie is known as the king of palm wine music.

5 Esonta Chief Inyang Henshaw Nigeria Highlife music – blends African aesthetics with American big band

and marching band music. Its peak popularity was in the 1950s and 60s. Lyrics are the most important aspect of this style.

6 Essengo Ya Ngai Wendo Na Moundanda Wendo Kolosoy and the Victoria Bakolo Miziki Orchestra Congo Features the mbira and combines popular Ngoma music and trad.

Congolese styles

7 Hello Hello Mose Fan Fan Congo Dance music known as soukouss – influenced by Latin American

music

8 La Milonga de Ricardo en cha-cha-chá Ricardo Lemvo & Makina Loca Congo A medley blending two classic Cuban tunes with a Zairean classic.

Cuban influence on African musicians started in the late ‘50s. Lemvo moved to LA, where he sang in Cuban bands. Eventually, he began to fuse soukous and Cuban music.

9 Hanzvadzi Thomas Mapfumo Zimbabwe Mapfumo was the first person in Zimbabwe to compose an original

song in the traditional style. Before him, songs were always based upon tunes passed down for generations. He often wrote of the struggle against the white minority gov’t. Eventually he was charge with subversion (in 1977) and sent to prison camp. To obtain his release, Mapfumo agreed to perform a benefit concert for the ruling party; at that concert, he sang only his most revolutionary songs. This song is traditional – it mixes mbira rhythms and soukous style guitar playing; it is a story of a woman who is unhappily married to a boastful and unfaithful husband.

10 Ole Mpirai/Lion Hunting Song Maasai culture Kenya Use of rhythmic breathing patterns and polyphonic throat singing.

Trad. hunting song.

11 Kothbiro Ayub Ogada Kenya Has collaborated with Peter Gabriel; worked in projects that tried to

reconcile the 45 different cultures and languages of Kenya. This song features Ogada’s tenor voice and the playing of his nyatiti. It is about cattle-herding, “Dear children, the rain is coming, bring in the cattle, bring in our wealth.”

12 Munomuno Samite Uganda Instruments – mbira, flutes, drums and guitar; rhythm – bakisimba

(trad. Baganda rhythm); Song is about an arrogant young man who began to grow hair on his chest. He went to his grandfather’s house and challenged the spirits in that house to come and have a wrestling match with him. The spirits heard his voice, came out and in a big voice they all shouted, “Who is that? We have been here a very long time.” When he heard those loud voices, he got scared and went out and shaved off all his chest hair. He wanted to be young again and not fight the spirits. The moral of the story is that it takes more than a little hair on the chest to make a man.

13 Hoya Hoye Seleshe Demassae Trad. children’s song. Children go from house to house singing the

song and they are given small pieces of bread or coins. As they sing, they crack a whip on the ground.

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14 Sangoma Bakithi Kumalo South Africa A Zulu healing song Text: Where is the witch doctor?/The sick ones

are coming to the mother/Come close/Where does it hurt, little boy?

15 Langa Mo Aura Msimang South Africa Zulu ndlamu way of singing – play between male & female voices.

Text: It will shake you up, EE O the dance to nourish your feet/We will walk it/ We’ll make you hot/We’ll go crazy/We’ll dazzle you/More sun, More sun/Who is Langa Mo?/We’re playing the Langa Mo

16 Mbube The Mahotella Queens South Africa Written in 1939 by Solomon Linda, it became famous when English

words were written: “The Lion Sleeps Tonight”

17 Hendry Tarika Sammy Madagascar Unique culture – most of the people are descendants of immigrants

from Indonesia and Southeast Asia (2,000 years ago); Instrument – valiha. Text: If a crowd crosses a river, crocodiles won’t eat them/Wolves won’t eat a flock of guinea fowl/Those who don’t want to stick together become sand/Those who want to unite become solid as a rock

18 Kyipellu This is a festival song praising and encouraging farmers at the

Kyipellu harvest festival. Features the xylophone.

Traditional African Instruments

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Study Guide: Video - “Atumpan: The Talking Drums of Ghana” 1. How many drums are in a set of talking drums and what is the

difference between them? 2. Why are the drums being built? 3. For how long are the logs left in the jungle to season before

they are used for drums? 4. What does the tree felling ceremony honor? 5. How does the master drummer teach the young student? 6. What tool is used to form the outer shape of the drum? 7. What tool is used to hollow out (“drill”) the interior of the

drum? 8. What does the eye of each drum face?

9. What material is used for the drum head of the drum and how

is it prepared before it is placed on the drum? 10. How are the drum heads held onto the drum? 11. Woven cloths, stool designs, jewelry shapes and the atumpan

all have what in common?

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African Rhythm Patterns

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African Songs

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Name: _________________________________________

Chapter 10 Journal Part 2: Reflections

What, in this chapter, was new to me?

What, in this chapter, would I like to know more about?

Of the musical examples in this chapter, which did I enjoy the most? Why?

Of the musical examples in this chapter, which did I enjoy the least? Why?

Other thoughts or comments about Chapter 10