Editorial I Mwana mberi 2 Vho-Jim 3 Thumbu'ya tshixel 5 jaco Kruger Indigenous Instruments Andrew Tracey Making of musical instruments in Africa II Rhythmic characteristic in music from Africa Scales of varying length in music from Africa Elizabeth Oehrle News from PASMAE f11BiIm The Talking- Drum .Newsletter Issue No. 19 June 2003 Network for promoting intercultural Education through ~usic(NETIEM) Pan-African Society of Musical Arts Education (PASMAE) Prof. E Oehrle, School of Music, University of Natal, Durban, 4041 South Africa Fax: +27 (3 1) 260- 1048 . E-mail: [email protected] - Editor: Prof. Elizabeth Oehrle Illustration for The Talking Drum: Dina Cormick s- i w\a\m Design and production: Graphicos

Editorial articles from Dr. AndrewTracey objective is to provide workable and Dr. Jaco Kruger, and you will solutions to the problems of o all who returned the form recall articles in previous issues music research, teaching and "Taking Stock" (issue #I 8) T from Dr. Minette Mans. Dr. Dave ~erformance~eculiar to the con- which enables us to update our Dargie, Dr. Stig Magnus-Thorsen tinent. Conference focus areas mailing list and to discover how and others. are music as science & art; the our readership feels about the One idea receiving considera- theory of African music translat- future format of The Talking tion is that of devoting an entire ed into musical arts education Drum, thank you. Ninety percent issue of The Talklng Drum to con- practice; folklore & games as of your responses were in favour tributions of staff and students integrated arts education; philos- of The Talking Drum continuing as from the music department or ophy of musical arts education: a newsletter. Ten percent want it school of music of a particular and the use of technc to be converted to a journal with tertiary institution. This will pro- solve African problems In musical an editorial board. Though few vide staff and students. who wish arts education. This ~romisesto reasons were given by the ninety to promote the musics of be a memorable natherinn in the percent, an assumption is that - - Southern Africa in education, heart of Africa. Read more the newsletter is reader friendly with an opportunity to submit about this conference in "News particularly for teachers in the materials and thereby wave the from PASMAE". classroom. It provides them with flag of their department or Finally strongly recommended a constant source of materials school by sharing their research. reading for all students of music which they can use and, depend- This will also provide readers education is the book.-.. IfYOU can ing upon their musical back- -. with an opportunity- - to become walk you con dance by Marion ground and experience, either more aware of efforts and focus- Molteno (1998, Shola Books, elaborate on or learn from along es emanating from the institution London) and the thesis, Bridging with their students. which takes advantage of this experience, action, and culture in Not becoming a journal at this omortunitv. Contact me at your music education bv Heidi stage means that some academ- . . earliest convenience if this idea is Westerlund (2002, Sibelius Academy ics, one of our primary sources of of interest. Music Education Department, Studia research materials, are reluctant The Pan-African Society for Musica 16, PB-Printing Oy, Helsinki, to share their findings through Musical Arts Education Finland). this publication. Fortunately Conference. PASMAE 2003. is there are others who willingly hosted by The Music Department support The Talking Drum as is at Maseno University in Kisumu evident in this issue with the - -. from July 5- 1 I this year. The theme is "Solutions for Music Education in Africa". The major Mwana mberi A song from Kenya

O Peter Okeno and Jaco Kruger, School of Music, Potchefstroom University

Aim challenge. It therefore is adviseable to Origin of the song combine the song first with the clave To teach children a song from Kenya. Peter Okeno (performance, and and rattle parts.Add the remaining # To develop percussion and rhythmic explanation of the text) and Jaco instruments when this basic ensemble skills. Kruger (transcription). has been mastered.The learning process may take several weeks. For the teacher Levels Mwana mberi originally is a birthday This song is suitable for learners in Text and translation song for a first-born child in the senior primary school and secondary Mwana mberi neshiokhwero. Kinyore dialect of Luhya, a language school. A first-born child is a blessing. spoken in western Kenya. It subsequently became a song of praise Procedure and time allocation Pronunciation performed at any ceremony in which a Although the melody of the song is not The phonetic representation of kh (in first-born features (e.g. a wedding). demanding, combining the song with neshiokhwero) = [x] (similar to the Afr. Finally, it became a song which praises its rhythmic accompaniment can be a 'g', as in geel). any outstanding individual achievement.

mwa- na mbe-ri ne-shiokhwe

1.tr-JBass drum w -

an I n I I, n I

Bass drum var. I.

6 La - Ill 1 r 11 I 17 rr V - - YI Bass drum var. 2 - r I I - Bass drum var. 2 cont. Vho-Jim A Venda song story

O Jaco Kruger, School of Music, Potchefstroom University

U - lu - lu Vho - Ji - mu! Tshi - na - ka - o ha - ya - ni. Chorus I w 4 Sa - la - nte - vhe - le.

11 A 0 bi - ka na vhu - swa na ~a - ma ya khu - hu.

nfe - vhe - le. Sa - la nte - vhe - le. Sa - la -

I - no bva Dzhu - be - ge. A nzi - ma na vhu - swa!

nte - vhe - le. Sa - la - nte - vhe - le.

Aim audience responds with Solungono! This 'vh' (in vhuswo and solanthevhele): like To explain changing social roles in response must follow every sentence of 'wh' (as in why) but pout the lips Africa by means of a story song. the narrative.The audience also sings 'dzh' (in Dzhubege): like 'j' (as in jelly) the chorus part of the song. Level All levels. Origin of the song story The narrative and translation of Narrated by Mrs Mpho Muofhe, the song Time allocation Miluwani, 14 July 199 I. Recorded and Solungano! Solungano! The story song takes a few minutes translated by M.G. Phuriwa.Transcription There once was a man by the name of only to be narrated, but it may be and narrative editing by Jaco Kruger. Jim. He was married to a woman called followed by a class discussion on the Tshinakao. Jim was a migrant labourer. changing social status of African women Pronunciation He worked far from home in the big which could take up a 30 minute lesson. This is a basic guide to pronunciation city of Johannesburg. He returned only. Consult aTshivenda speaker for - home by minibus taxi for a few days Procedure accurate pronunciation. only every couple of months. The narrator starts the story by Tshinakao remained at home with chanting Solungono! Salungono! The her son and Jim's two younger, unmarried brothers. She was a trader But Tshinakao still refused to feed na carno ya khuhu. who sold fruit and vegetables at the Jimf dog. She said:"l am a modern market.When she returned from work woman. I cook only for myself and my Ino bva Dzubege. at night, she cooked food in a small son because I work during the day. I three-legged pot on an open fire.This also like to put on nice clothes and go A nzirna na vhuswa! pot was only big enough for herself and shopping. I paint my nails and put on her son. Jim's small dog became very lipstick. I do not stay at home all day Salantevhele! hungry, and he started to sing: and cook in a large pot for all the other family members." Ululu!' Vhojirnu! Mr Jim! As you have guessed, the small dog And so Jim's dog had to live off was speaking on behalf of Jimf two Tshinakao hoyani. Tshinakao is at scraps of discarded food, and by begging brothers. Jim instructed Tshinakao to home. from neighbours while his master was cook for everyone at home, but she working in Johannesburg. One day Jim 0 bika na vhuswa, She cooks porridge refused. The two of them are still arrived home on one of his periodic arguing over this matter. It has always na carno yo khuhu. and chicken. visits.When his dog heard him arriving. been the task of young wives to cook for he ran to him and sang: Ino bva Dzhubege! Return from all the relatives living in their homestead. Johannesburg! However, many modern women are Ululu! Vhojirnu! A nzirna na vhuswa! She refuses to give reluctant to follow this tradition. me porridge! Tshinakao hayani.

(Chorus) Footnote Salantevhele! Always following me! 0 bika na vhuswa, I. The sound of a howling dog. Thumbu tshixele

O Jaco Kruger, School of Music, Potchefstroom University

Aim 'fh' (as in fhi): like 'vh', but voiceless Zwikumbu zwingana? With how many M To teach learners an African lullaby. calabashes? 'zw' (as in zwikumbu): fuse the letters; do not over-emphasize the 'w' Zwikumbu zwiraru. With three Level calabashes. All levels. Text and translation U lilela ni? Why is the baby Time allocation /hi, ihi. Be quiet, be quiet. crying? Approximately 30 minutes, followed by consolidation during subsequent lessons. Mainda, maindo. It is early summer, U lilela u 10. It is crying to eat. early summer. Origin of song Nangwe ndo fura, Even though I am Performed by Mrs Selina Raluswinga, ndi a la. sated, I continue For the teacher Mapila, 3 1 July 1992. Recorded by Mrs eating. N.S. Mulaudzi.Transcription and optional There are two interpretations of this accompaniment by Jaco Kruger, Ndi a la, ndi a la. I am eating, I am text. The first, provided by ethnomusic- eating. ologist John Blacking, is the opinion that Pronunciation adults know when to stop eating but This is a basic guide to pronunciation Thumbu ya The stomach of the children do not. The second interpreta- only. Consult aTshivenda speaker for tshixele mainda. babysitter in early tion poses a contrast between a baby accurate pronunciation. summer. who enjoys an abundance of milk, and its nursemaid who is hungry during 'x' (as in tshixele): phonetic representa- Vho-mme vho Where has early summer when harvesting is far tion [x]; also as in Afr.'gl (see Afr. gee/) ya fhi? mother gone? away, and veld food is still ripening. The song can be repeated as many 'vh' (as in Vho-mme): like 'wh' (as in Vho ya mulamboni. She has gone to times as required. Song phrases may be why) but pout the lips the river. repeated in a similar way.

Guitar (optional) II Hi - hi - hi - hi - hi. Hi - hi - hi -hi - hi.

Mai - n$~mai - $a.

1) Vho - mrne vho ya fhi? Vhoya mu-lambo -ni. II Zwi - ku - mbu zwi - nga - na? Zwi - ku - mbu zwi ra - ru.

II U li - le - la - ni? U li - le - la - ni?

II U li-le-la ula. U li-le-la u la, Indigenous Instruments

O Andrew Tracey, LAM, Rhodes University, Grahamstown

African instruments belong to the same HISTORY & ECOLOGY are made where they are played, so families as all other musical instruments The greatest musical instrument in Africa they must be made of local materials. in the world. They create their sounds is the voice. This is especially true in People who live in forests can use large in the same ways. Many of them are South Africa, which has a strong choral trees to make drums and xylophones; very ancient and are related to such tradition. Compared with most African people who live in bushveld, like most instruments as the lute, lyre, harp and countries, other indigenous instruments of South Africa, can make smaller drum mentioned in the Bible. are few here. We have many bows, a few instruments that use sticks, reeds, drums, some reedpipes, one gourds etc. xylophone.. .. Why is this? CLASSIFICATION The answer must be found in INSTRUMENTS USED IN SOUTH All musical instruments of the world history and ecology. The majority of AFRICA are classified into four families, South Africans belong to the cattle- according to the part of the instrument keeping Nguni and Sotho peoples, who We look first at Chordophones, and that vibrates to make sound: live in open grassy plains, organize then touch on Membranophones, Aerophones and Idiophones. Aerophones (air-sound), where air themselves in large-scale societies with vibrates, as in flutes and horns powerful chiefs, and sing and dance CHORDOPHONES: Musical Bows together in large groups. In other Musical bows are the main instruments Chordophones (string-sound), where similar parts of Africa, you also find that of the Nguni and the Sotho, the strings vibrate, as in musical bows cattle people prefer singing to predominant people of South Africa. Membranophones (membrane- instrument-playing.... for instance the Historians believe that many of our sound)), where membranes or skins Khoi peoples of Namibia, the Masai and musical bows came from the Khoi and vibrate, as in drums Gogo in Tanzania, the Humbi and San peoples, the original inhabitants of ldiophones 'Idio' means 'self'; thus Humba of southern Angola and South Africa. 'self-sound', where the body of the Namibia. The farmers of Africa, on the A musical bow is a string instrument, or parts of it, makes the other hand, play more instruments. In instrument made of a long straight or sound. This includes all instruments South Africa this would mean such curved wooden stick, with one string. that are not included in the other peoples as theVenda,Tsonga and Pedi. usually of metal, stretched from end to families, such as mbira, xylophone, The ecology also determines what end. There are many types of bows, but rattles and many others. can be played. Traditional instruments there are more bow names, because Or, if the bow is held against the How a bow 'sings' with harmonics player's mouth, the mouth itself We talked above about the 'fundamental is the resonator (Umrhubhe, notes'. A bow must also 'sing', by using Umqangala, Tshihwana, Xizambi 'harmonics'. To understand harmonics etc). you have to know that any tight string gives not just one note. the 2. Two fundamental notes fundamental, but many other notes at 'Fundamental notes' mean the the same time. With the resonator (the deepest.notes, which the string gourd or the mouth) you can choose gives, not the higher notes (i.e. which of these harmonic notes you the harmonics, see below) want to sound at any moment. On a which you can hear from the gourd bow, e.g. Umakhweyana or Uhadi, resonator (i.e. the gourd or the you can move the opening of the gourd mouth). There are always at to and from your chest to do this. On least two fundamental notes on a mouth bow, e.g. Umrhubhe or all bows. One comes from the Umqangala, you change the size of your string when it is 'open', that is mouth, using your tongue in the same when the player does not touch way as when you whistle. or shorten it. This note can be called VU in Xhosa, from the Scales the same type may be known by several world 'Vuliwe'. Although bows are played by few names according to language. These are The other, higher, note comes from people these days, they once played a some: the string when it is 'fingered', or big part in music here.We can see this Zulu Umakhweyana (braced gourd touched, or shortened in some way by from the scales used in much traditional bow), Ugubu (gourd bow), the player. It can be called BA in Xhosa, South African singing. The scales, which Umqangala (mouth bow). from 'Banjiwe'. Or it can already be on we use, come from the bows, i.e. from the bow string; if it is divided into two Xhosa Uhadi (gourd bow), Umrhubhe their two fundamental notes and the parts (Umakhweyana, Xitende). The & Umqunge (bowed mouth harmonics of these notes. difference between VU and BA is often bow), lnkinge (bowed a 'whole tone'. In some traditions it can resonated bow). MEMBRANOPHONES: Drums also be a 'semitone' (Zulu) or a 'minor Drums are said to be the typical African S.Sotho Lesibo (blown mouth bow). third' (Tsonga). instruments. However, they were used Thomo (gourd bow), Setolotolo Some bows give more than two little in South Africa, except in the north (mouth bow). fundamental notes. The Zulu by the Venda (Murumba, Ngoma),Tsonga Umakhweyana and the Tsonga Xitende Pedi Lekope (mouth bow). (Ngoma) and Pedi (Moropa).They are give three. The Venda Tshihwana gives made of wood, with a skin on one end. Tswana Segankure (bowed resonated four. A drum that is open at the bottom bow). (Murumba, Moropa) can make different Ways of sounding a bow Tsonga Xizambi (friction mouth bow). sounds according to how it is beaten; There are several ways of making a bow Xitende (gourd bow). one that is closed (Ngoma) has one clear string give sound. Some are struck with sound. Large drums are played with Venda Tshihwana (mouth bow), a piece of grass or a small stick (Uhadi, sticks, smaller ones with hands. Every Lugube (mouth bow), Tshijolo Umakhweyana, Xitende). Some are drum in a group plays a different rhythm. (bowed resonated bow). rubbed, or 'bowed', with a straight stick In Venda, most drums belong to the Although there are differences (Umrhubhe), or with another very small chiefs.They are symbols of his authority. between the many bows, all bows have bow made of cow or horse tail Although Zulus (Isigubu) and Swatis two things in common: a resonator, and (Umrhubhe, Segankure, Inkinge). Some use many drums these days, these were at least two fundamental notes. are plucked with the fingers, or with a probably borrowed in the late 1800s small 'pick' made of a thorn or a piece I. Resonators from British army bands.These drums, of wood (Tshihwana, Umqangala). Some A bow is a very quiet instrument, so all and those used by Zionist.churches, are are scraped along the notched side of bows need a resonator to amplify the normally made of metal tins with a skin the bow with a rattle-stick (Xizambi). sound. This is always something hollow, laced on at both ends. Even if they are One bow is blown with the mouth like a gourd or a tin (Uhadi, many, they are usually all played (Lesiba). Umakhweyana, Segankure. Xitende etc). together in the same rhythm. AEROPHONES: of the Ndau in Mozambique. Reedpipes, Flutes The Pedi mbira (Dipela) is played with fingers only, The best-known unlike all other mbiras aerophones in South which are played with Africa are the reedpipes thumbs. of the northern peoples, the Venda IDIOPHONES: (Tshikona) and the Pedi Xylophone (xylophone and (Dinaka), also the marimba mean the same thing) Tswanal Bamalete of There was only one Botswana (Letlhaka). traditional xylophone in Reedpipes are played in South Africa, theVenda Mbila large groups on Mutondo, a large instrument important social with carved wooden keys occasions. Tshikona is the Venda national reed or pawpaw leaf, is blown at the and gourd resonators underneath, dance. end. It uses harmonics, like the bows, played with rubber-tipped sticks. Reedpipes are simple instruments The northern peoples sometimes Unfortunately it is no longer played. made of river reed cut to the right blow on single kudu or sable horns The modern AFRO-MARIMBA from lengths to give the scale. The playing (Venda Phalaphala, Pedi Phalafala,Tsonga Zimbabwe has become popular since technique is complicated. Each man has Xipalapala) during dances. 1980. especially among Xhosa speakers. to put his one note into the music at It is played in groups, with instruments exactly the right place, and also dance of four different sizes. difficult steps at the same time. A set of IDIOPHONES: Mbira IDIOPHONES: Rattles drums is played by women in the centre The northern peoples are the only of the circle of dancing men. players of the 'mbira' or 'thumbpiano' in Typical dancing rattles in South Africa Flutes made of reed (Venda South Africa. This is a small instrument are made of hard moth cocoons (Zulu Tshitiringo,Tsonga XRloti, Pedi Naka Yo which has a wooden body with from 10 1mifice.Tsonga Mafahlawane. Tswana Let/h&, Swazi Umahingozi) were often to 22 or more tuned iron keys fixed to Matlho), with small stones inside.They played by boys, but are rarely heard it. (See picture on page I I.) These are are sewn together and used on the legs now. These have finger holes like a plucked with the thumbs or fingers.The when dancing. Other materials can also penny whistle, but are blown on the Venda mbira (Mbila Deza) is similar to be used, e.g. gourds (Venda Mathuzwu, side, not at the end.The Zulu Umtshingo that of the Shona in Zimbabwe. The Tsonga Mafowane), ilala palm leaf, or (Xhosa /xi/onp, sotho Leko/i/o),made of Tsonga mbira (Timbila) is similar to that reed (Xhosa lingcacu).

Andrew Tracey International L~braryof African Music 4 September 1996 Making of Musical Instruments in Africa

O Elizabeth Oehrle: School of Music, University of Natal, Durban

Objective Teacher distributes to each student the written descriptions of each of the To create an awareness of the fact that many Africans make their own following instruments, but WITHOUT instruments and to encourage this THE NUMBERS. Note that each number coincides with the number of creative activity in classrooms. each picture found at the end of this Content lesson for the benefit of the teacher. As students will be asked to match each Africans make their own instruments with materials from the area in which description with a picture, numbers MUST BE REMOVED before they live. distribution. Method Teacher explains that some African instruments andlor pictures of the Overleaf instruments (pgs 14 & 15) are displayed DESCRIPTIONS of INSTRUMENTS in the classroom, and that each has a Photostat and distribute to each number. Students examine the display. student. (pgs 12 & 13) 0 THETALKING DRUM: Imagine standing on a 0 The Chopi of Mozambique play in xylophone hillside and speaking to people on another hillside far orchestras of up to thirty or more TlMBlLA away by means of a drum, the talking drum. The xylophones constructed in five different pitches from Yoruba, Kongo, Ewe, Ashanti, Lozi, Ibo, Bechuana and treble to double bass. Gourds fitted with a thin other African groups make use of the talking drum to membrane stretched across the opening are used as announce important social events such as births, resonators. The music they perform is composed deaths, marriages and special ceremonies. anew every year. Long before the telegraph and telephone were invented as a heans of communication,Africans made @ In northern Mozambique the MANGWlLO use of different tones to communicate messages. xylophone is played by two people sitting on opposite These tones are imitative of tonal languages of the sides of the instrument. There are seven keys made groups listed above. Message drums from West Africa of logs cut into shape and left to dry. The keys are have an hour-glass shape, are double-headed, and have then placed across two banana stems. The parts thongs which stretch from end to end. The drum, played by the two players interlock; thus the players suspended from the shoulder, is held between the are named Opachera (the starting one) and Wakulela player's arm and body, and he squeezes it to alter the (the responding one). tone as he hits the drum with a drumstick shaped like the head of a crane's bill or with his hand when 0 MBIRA: Africa's unique instrument has over one sending a message. hundred different names, such as mbira, nsani, likembe, agidigbo, kalimba, and thumb piano, and it @ HOME-MADE DRUMS: In the wide treeless comes in a variety of shapes. This native African savannah areas of South Africa people find it difficult instrument is common throughout the continent, to obtain wood if they wish to make a drum. This is known nowhere else except in parts of the Americas also true for the Zulus and Xhosas working in big where it was taken by Africans. cities like Johannesburg. Instead of using wood, they If you study the picture of this quiet personal make use of discarded metal containers such as old instrument, you will notice that this MBIRA has a oil drums or even garbage tins, and they transform number of metal tongues attached to a sounding them into sound producing objects. These drums may board or box. Sometimes an additional resonator is be single or double-headed, and they are played either used to increase the instrument's volume; thus you with the hand or with a large beater or stick. As well may see the instrument being played inside a large as using home-made drums, the Zulus also make calabash. The player holds the instrument in his percussive sounds by using their hide shields and two hands and plucks the tongues with both beaters. thumbs, or sometimes with the thumb and index finder. Metal bottle tops or shells may be attached @ XYLOPHONES: The wooden xylophone is to the board to add rattling or buzzing sound which found as far west as Sierra Leone and as far south as Africans like. Mozambique. They vary in type and size, and three The name of the instrument you see is MBIRA different types are illustrated. VZAVADZIMU, and it comes from Zimbabwe. In Uganda, the Ganda tribe use a single xylophorie, the AMADINDA, which is played by three men 0 PAN-PIPES: The pan-pipes are among the simultaneously. Each musician plays on the end of the many aerophones, or wind instruments, found in keys with two wooden sticks about 35cm long. The Africa. Here you see a collection of pipes. Some are music which they perform has been handed down to sets of four pipes; others of two. They are made of them by their forefathers. bamboo and are secured by means of plant fibre. Each player simultaneously plays his particular made of wood across which antelope hide is melodic pattern on his set of pipes, sings another stretched and secured. The five strings are fastened melodic pattern, and dances. The players then must to five tuning pegs. The Azanda people are famous interpolate their particular parts into the music at for their beautifully carved harps, and harp music is the right moments. much used by boys and young men for walking songs, One Tswana pipe ensemble is known to consist of love and topical songs. twenty-one pipes covering a range of five octaves. The pipes which they use are made of metal as these 0 MUSICAL BOWS: The bow featured in this men are miners working for a mining company near picture is called the UMAKHWEYANA bow. It was Krugersdorp in South Africa. played by young unmarried Zulu women to Pan-pipes are common to all parts of Africa as are accompany love songs, but today only the older other wind instruments such as whistles made of women keep the music of this instrument alive by wood, metal and clay, and flutes, both end-blown and singing songs relevant to their own lives. The young transverse. people have become more interested in western instruments than in indigenous instruments as more 0 HORNS: Animal horns and tusks are made into prestige is attached to the playing of western horns and trumpets all over Africa. They are instruments. picturesque in appearance, for some are straight, The umakhweyana is a gourd-bow, the stave of . . some are curved, and still others are twisted. The which is made from the wood of the acacia tree. It is instruments vary in size from the small signal whistles made into an arch shape, and copper or brass wire is of the southern cattle herders to the large ivory stretched between the two ends. Another wire horns of the tribal chie'fs of the interiors. length is used to attach the gourd to the stave, and In this picture you see different sized KUDU fibres or cloth forming a ring are placed between the HORNS. Players hold them sideways to their lips gourd and stave. The bow is held in the left hand, and and blow single notes. When a set of kudu horns is the string is struck with a small stick or grass stalk played together, each player must interpolate his part held in the fingers of the right hand. into the music at the right moment. @ SHEKERE: This instrument is made from a Q MOUTH BOW: The simplest of the stringed gourd which is smaller than the calabash. It is instruments, or chordophones, is the mouth bow. covered with a woven net. Its beads create a loud Shaped like a hunting bow and having one string, it is sound as they strike the resonating hollow gourd. played either by being plucked with the finger or Used throughout Africa south of the Sahara, this struck with a thin stick. These particular bows make instrument is known by various names. In Ghana, use of the open mouth as the resonator. For one where it is known as the AXATSE, short lengths of bow the player plucks the metal string in order to bamboo may be woven.into the net instead of produce a sound. For another he uses a stick to beads. which a small packet of seeds is attached. The sound produced, though very soft, is often of a very @ METAL GONGS, SHAKERS, rattles, clapping complex nature. sticks and double bells are examples of other African instruments which produce sounds when they are @ HARP: Harps are found in northern East Africa struck or shaken. Such instruments are called and on the West coast of Africa. This picture shows idiophones. a harp used by the Azande people from Northern Zaire. The body of this five-stringed arched harp is

Encourage students to match the description of the instruments with the numbers of the instruments or pictures on display in the classroom. They may work individually or in groups.

Students decide which description matches which instrument or picture.

. Teacher leads a discussion of the results of the number-matching or instrument(picture)-matching session. Comparisons of answers is encouraged.

Teacher suggests that each student decides what kind of instrument helshe would like to make. Students discuss this idea and make decisions as to which instrument each will make the next week.

Teacher may use the following recordings to demonstrate the sounds of African instruments. DRUMS - The Music ofAfrica Series, no.38-Drums. GALP 1676 FLUTES & HORNS -The Music ofAfrica Series, no.30-Musical Instruments 4, Flutes and Horns, GALP 1325. HARP - The Music ofAfrica Series. Musical lnstruments I - Strings, GALP 1322. MBlRA -The Music ofAfrica Series, no.26, Rhodesia I, GALP 132 1 and no. 28. Music lnstruments 2, Reeds, GALP 1323. PIPES - The Sound ofAfrica Series, ILAM, Rhodes University, Tr. I 17. UMAKHWEYANA BOW - Sounds of Tongaland, completed by Tony Pooley, Re-recording: Olympic Studios, Durban. XYLOPHONE - The Music ofAfrica Series. no. 24, GALP 13 19.

The Music ofAfrica Series and The Sound ofAfrica Series present an extensive range of instrumental and vocal music. ILAM, Rhodes University, Grahamstown, South Africa. Rhythmic Characteristic in Music from Africa

O Elizabeth Oehrle: School of Music, University of Natal, Durban

OBJECTIVE (1..4. .), and half clap the right hand To experience cross-rhythms. Music pattern (1 -3.5.). Encourage the students from Africa uses cross-rhythms such as to shift their listening back and forth Count to 12 and then have the class 2 with 3, the most basic, 3 with 4, and between each of the three patterns: clap line A several times, then line B. many others. Divide the class in half. Group A claps Method using line A; Group B claps line 6. To set the 2 pulses with 3 pulses tempo, give 12 even counts to begin. Then change so that A claps B and B Teacher puts the following on the claps A. Direct the class to listen to overhead projector or board: each of the 3 rhythmic patterns, i.e. Teacher enables students to clap 2 with 3 with both hands by using the following word patterns:

Students clap 3 with 4 and shift their listening from one rhythmic pattern to A student counts 6 pulses aloud to another, i.e. from A to B to C, which is set the tempo and continues counting the combined rhythms of A and B. Students clap 2 with 3 both their for the above exercise. Teacher divides the class into groups left and right hand as shown above. of about five. Students choose body, Teacher now puts the following on Teacher divides the class into groups instrumental or vocal sounds, and then the OHP or board: of five; they choose a sound and they create a piece using 3 with 4. perform an exercise of 2 with 3 pulses. Each group is invited to perform for Teacher forms a circle with selected the class. Listeners are encouraged to students. Each chooses to clap one of try to shift their listening to each of the the following: either 1 ..4.. Or 1.3.5. three rhythms shown above. Move the circle one step, left to right, as Teacher forms a circle with selected each person claps hislher chosen students. Each student chooses to clap rhythmic pattern. either the three beat pattern or the Another student counts 6 pulses four beat pattern shown above. aloud to set the tempo and continues Method using Following the setting of the 12 counting for the above. 3 pulses with 4 pulses pulses, the circle moves one step, left to Teacher divides the class in half. Teacher puts the following on the right, as each person claps hislher own Half the class claps the lefi hand pattern board: pattern. Scales of Varying Length in Music from Africa

O Elizabeth Oehrle: School of Music, University of Natal, Durban

OBJECTIVE and combine notes A and D using the To create an awareness that scales of same rhythmic patters. varying length occur in music from Students experience singing the Africa such as a four and a five note circled numbers in unison and then in scales. two parts. Teacher does the same with A and Method E, allowing students to circle the Teacher concludes the lesson numbers this time for the following: Put on the board: ' either by 123 4567 8910tl12 A1 23456 789101l12 (a) dividing the class into groups of five El 23456789101112 Ask students to circle some and they create their own 3 or 4 numbers and suggest various ways of Students decide which numbers are part work, using percussion clapping the above, such as soft, fast, to be circled and sing the rhythmic instruments or vocal sounds. etc. Decide on one way. Set the pulse pattern on A and E - first in unison and OR by counting to 12 and clap the then in two-parts. (b) forming a circle with the class or in exercise. Decide on another way, then Teacher does the same with notes smaller groups and allowing each another, etc. G and E and students circle the student the choice of singing one of Students clap the circled numbers of numbers again. the four lines above as the circles the rhythmic exercise in different ways. Students repeat the above but use moves, left to right, to the music. Teacher sounds an A above middle notes G and E. Repeat the above again using A, G, C. Have the class sing the circled Teacher, using notes A G E and D, E, and D, but add a fifth note - C; thus numbers from the above exercise on divides the class into four groups and the class now experiences the use of a the note A using la. Repeat using D each sings the respective numbers five note scale. above middle C. Then divide the class which the students circled, e.g. PAN AFRICAN SOCIETY FOR MUSICAL ARTS EDUCATION (PASMAE) CONFERENCE:

PASMAE 2003 Kisumu, Kenya 5- 1 I July 2003 Theme: Solutions for Music Education in Africa

We are inviting you to attend the above workshop proposals and posters relevant Three strands will run through all the conference, which is scheduled to take to the theme will be accepted.An above four themes: place in July 2003.The Conference is being exhibition of musical instruments, posters, I Gender sensitivity. organised under the auspices of the Pan pictures, books, cassettes, etc. will run H Indigenous Knowledge Systems (IKS). African Society for Musical Arts Education, concurrently with the Conference. I Africa, the West and the East the Kenyan Music Educators Association empowering each other. and UNESCO. This will also be the first CONFERENCE FOCUS AREAS NATURE OF SESSIONS International Society for Music Education This conference will focus on four areas. Procedures will be discursive and (ISME) Regional Conference in Africa, at According to the nature of the focus, structured such that a documentation of which we will celebrate the Golden Jubilee sessions will be divided into workshops, model formats will be possible for of the founding of ISME, on 9 July 1953. paper presentations andlor seminarslpanel subsequent circulation to music educators. Our host will be the Department of discussions, and delineated as follows: To this end, as much as possible working Music, Maseno University - the only Theme I: documentation will be prepared ahead of university situated on the equator! Music as science and art:TheTheory of the conference. The theme of the Conference is African Music Translated into Musical Participants will meet the expenses for Solutions for Music Education in Arts Education Practice -Workshops their travel to and from Kisumu as well as Africa. and panel discussions pay for their accommodation and meals. The major objective of this working Theme II: Conference will be to provide workable Folklore & Games as Integrated Arts Call for Papers, Performances, Posters solutions to the problems of music Education -Workshops and Workshops research, teaching and performance Theme Ill: The conference is to be a practical one. peculiar to the continent African Philosophy of Musical Arts Presenters should show evidence of The Conference will comprise plenary. Education - Panel discussions documented fieldwork experience and workshop, paper, seminar, performance and should be ready to run interactive Theme IV: poster sessions.The conference workshops, lead and guide discussion The Use of Technology to Solve African programme will be arranged in such a way groups, conduct seminars and present Problems in Musical Arts Education - as to allow two or more activities to run papers. concurrently. As many as possible papers, Seminars. Who May Submit Papers,Workshop proposals, Posters Educators working with music and dance, music teachers at all levels, music artists. musicians, dancers, martial musicians, music psychologists, music therapists, music sociologists,- music historians, community music practitioners, music publishers. choreographers. Musical Arts Education Action Teams are particularly encouraged. English is the official language of the conference however, translation will be provided for non-English speaking people.

WEB SITE. www.pasmae.org. Please consult for regular updates and further information.

REGISTRATION. A registration fee of US$ I0 payable on the first day of the Conference will be required.

CONFERENCE SITE. The Conference will take place at the Sunset Hotel, Kisumu, Kenya. ACCOMMODATION. Delegates changes in Kisumu.The rates are likely to but include something warm just in case. presenting papers, workshops and seminars change. will be booked at the Sunset Hotel. HOTELS. Observers are expected to make their HEALTH. Please take appropriate Sunset Hotel own arrangements for accommodation and precautions for malaria, prior to your Single $50 Fullboord meals. You will find some information travel to Kenya.Vaccinations for cholera Imperial Hotel about hotels in this bulletin. and yellow fever are required for visitors Single $40 weekdays and from some countries. For unforeseen $35 weekends VISA REQUIREMENTS. Delegates emergencies, you are advised to take Imperial Hotel from those countries requiring visas to medical cover while on trips abroad. Double $60 weekdays and enter Kenya are advised to approach the $40 weekends Kenyan Embassy in their country In the SOCIAL EVENTS. A conference Milimani Resort Hotel case of countries where there is no reception dinner will be hosted on the Single $50 fullboard Kenyan Mission, please advise the night of the second day of the conference. Double $60 fullboard organisers timeously so that arrangements Site seeing tours will be organised every St Anns Guest House can be made for you to obtain a visa upon evening to Kisumu Museum, Kisumu animal $20 your arrival at the airport. park and hippo point, Kakamega forest, Victoria Hotel SemelSukwa and Maseno University. $30 INTERNAL TRANSPORT. Transport Museum View Hotel will be made available to take you to and AIRLINE SCHEDULES. Nairobi is $30 from the.airport. You will be expected to served by several airlines from different make your own arrangements for any trips points in Africa, Europe and America.You For more information: outside the Conference programme. will, however, take an internal flight from Dr. Hellen A.O.Agak, Nairobi to Kisumu or alternatively come Department of Music. CURRENCY. Kenya's currency is the by road. Maseno University, PO Box 333, MSENO, Kenyan Shilling KSH and is currently valued Kenya at US $ l to KSH 79. International WEATHER. Kisumu weather is warm Fax: 254 35 5 122 1 currencies can be converted to local and the month of July is generally dry. E-mail: [email protected] or currency at banks, hotels and bureaux de Visitors are advised to bring light clothes [email protected] Printed in South Africa using local recycled papers. ,