A Guide to the Musical Instruments of Cameroun: Classification, Distribution, History and Vernacular Names

Total Page:16

File Type:pdf, Size:1020Kb

A Guide to the Musical Instruments of Cameroun: Classification, Distribution, History and Vernacular Names A guide to the musical instruments of Cameroun: classification, distribution, history and vernacular names [DRAFT CIRCULATED FOR COMMENT -NOT FOR CITATION WITHOUT REFERENCE TO THE AUTHOR Roger Blench Kay Williamson Educational Foundation 8, Guest Road Cambridge CB1 2AL United Kingdom Voice/ Fax. 0044-(0)1223-560687 Mobile worldwide (00-44)-(0)7967-696804 E-mail [email protected] http://www.rogerblench.info/RBOP.htm This printout: July 31, 2009 TABLE OF CONTENTS TABLE OF CONTENTS.................................................................................................................................I PHOTOS ........................................................................................................................................................IV MAPS .............................................................................................................................................................VI PREFACE.................................................................................................................................................... VII 1. INTRODUCTION....................................................................................................................................... 1 1.1 General .................................................................................................................................................... 1 1.2 Indigenous and Western classifications .................................................................................................. 1 1.3 History and the distribution of musical instruments ............................................................................... 2 1.4 Musical instruments and sound-producers.............................................................................................. 3 1.4.1 Tourist instruments........................................................................................................................... 3 1.4.2 Modern materials ............................................................................................................................. 3 1.4.3 European instruments....................................................................................................................... 4 1.4.4 Electrification................................................................................................................................... 4 1.5 Linguistic background to Cameroun ....................................................................................................... 4 1.6 Vernacular names of musical instruments .............................................................................................. 5 2. IDIOPHONES ............................................................................................................................................. 6 2.1 General .................................................................................................................................................... 6 2.2.1 Percussion ........................................................................................................................................ 6 2.2.1.1 Slit-gongs.................................................................................................................................... 6 2.1.1 Untuned ......................................................................................................................................... 8 2.2.1.1.1 Struck plaques .................................................................................................................... 8 2.2.1.1.1.1 Lithophones................................................................................................................. 8 2.2.1.1.1.2 Struck iron plaque ....................................................................................................... 8 2.2.1.1.2 Struck bars.......................................................................................................................... 8 2.2.1.1.3 Struck vessels ..................................................................................................................... 9 2.2.1.1.3.1 Struck gourds............................................................................................................... 9 2.2.1.1.3.2 Struck tortoiseshell...................................................................................................... 9 2.2.1.1.4 Clapperless bells............................................................................................................... 10 2.2.1.1.5 Clapper-bells .................................................................................................................... 11 2.2.1.1.6 Pellet-bells........................................................................................................................ 11 2.2.1.1.7 Vessel-rattles .................................................................................................................... 12 2.1.2 Tuned........................................................................................................................................... 16 2.2.1.1.1 Xylophones....................................................................................................................... 16 2.2.2 Concussion ..................................................................................................................................... 17 2.2.2.1 Concussion sticks ..................................................................................................................... 18 2.2.2.2 Concussion bells....................................................................................................................... 18 2.2.2.3 Concussion rings ...................................................................................................................... 18 2.2.2.4 Concussion rattles..................................................................................................................... 19 2.2.2.5 Concussion spheres .................................................................................................................. 19 2.2.3 Scraped idiophones ........................................................................................................................ 20 2.2.4 Friction idiophones......................................................................................................................... 20 3. MEMBRANOPHONES............................................................................................................................ 21 3.1 General .................................................................................................................................................. 21 3.2 Pegged or nailed drums......................................................................................................................... 21 3.3 Laced drums.......................................................................................................................................... 22 3.3.1 Laced single-headed drums............................................................................................................ 22 3.3.2 Laced double-headed drums........................................................................................................... 23 3.3.2.1 Hourglass drums....................................................................................................................... 23 i 3.3.2.2 Barrel drums ............................................................................................................................. 23 3.3.2.3 Conical drums........................................................................................................................... 24 3.4 Wedge-laced drums............................................................................................................................... 25 3.5 Screw-tensioned drums ......................................................................................................................... 25 4. CHORDOPHONES .................................................................................................................................. 25 4.1 Musical bow.......................................................................................................................................... 25 4.2 Spike-lute .............................................................................................................................................. 25 4.3 Pluriarc .................................................................................................................................................. 26 4.4 Mvet ...................................................................................................................................................... 26 4.5 Arched harp........................................................................................................................................... 27 4.6 Earth-bows and monochord harps......................................................................................................... 28 4.7 Spike-fiddle........................................................................................................................................... 29 5. AEROPHONES........................................................................................................................................
Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Linguapax Review 2010 Linguapax Review 2010
    LINGUAPAX REVIEW 2010 MATERIALS / 6 / MATERIALS Col·lecció Materials, 6 Linguapax Review 2010 Linguapax Review 2010 Col·lecció Materials, 6 Primera edició: febrer de 2011 Editat per: Amb el suport de : Coordinació editorial: Josep Cru i Lachman Khubchandani Traduccions a l’anglès: Kari Friedenson i Victoria Pounce Revisió dels textos originals en anglès: Kari Friedenson Revisió dels textos originals en francès: Alain Hidoine Disseny i maquetació: Monflorit Eddicions i Assessoraments, sl. ISBN: 978-84-15057-12-3 Els continguts d’aquesta publicació estan subjectes a una llicència de Reconeixe- ment-No comercial-Compartir 2.5 de Creative Commons. Se’n permet còpia, dis- tribució i comunicació pública sense ús comercial, sempre que se’n citi l’autoria i la distribució de les possibles obres derivades es faci amb una llicència igual a la que regula l’obra original. La llicència completa es pot consultar a: «http://creativecom- mons.org/licenses/by-nc-sa/2.5/es/deed.ca» LINGUAPAX REVIEW 2010 Centre UNESCO de Catalunya Barcelona, 2011 4 CONTENTS PRESENTATION Miquel Àngel Essomba 6 FOREWORD Josep Cru 8 1. THE HISTORY OF LINGUAPAX 1.1 Materials for a history of Linguapax 11 Fèlix Martí 1.2 The beginnings of Linguapax 14 Miquel Siguan 1.3 Les débuts du projet Linguapax et sa mise en place 17 au siège de l’UNESCO Joseph Poth 1.4 FIPLV and Linguapax: A Quasi-autobiographical 23 Account Denis Cunningham 1.5 Defending linguistic and cultural diversity 36 1.5 La defensa de la diversitat lingüística i cultural Fèlix Martí 2. GLIMPSES INTO THE WORLD’S LANGUAGES TODAY 2.1 Living together in a multilingual world.
    [Show full text]
  • Music of Ghana and Tanzania
    MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups.
    [Show full text]
  • WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
    WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers.
    [Show full text]
  • Options for a National Culture Symbol of Cameroon: Can the Bamenda Grassfields Traditional Dress Fit?
    EAS Journal of Humanities and Cultural Studies Abbreviated Key Title: EAS J Humanit Cult Stud ISSN: 2663-0958 (Print) & ISSN: 2663-6743 (Online) Published By East African Scholars Publisher, Kenya Volume-2 | Issue-1| Jan-Feb-2020 | DOI: 10.36349/easjhcs.2020.v02i01.003 Research Article Options for a National Culture Symbol of Cameroon: Can the Bamenda Grassfields Traditional Dress Fit? Venantius Kum NGWOH Ph.D* Department of History Faculty of Arts University of Buea, Cameroon Abstract: The national symbols of Cameroon like flag, anthem, coat of arms and seal do not Article History in any way reveal her cultural background because of the political inclination of these signs. Received: 14.01.2020 In global sporting events and gatherings like World Cup and international conferences Accepted: 28.12.2020 respectively, participants who appear in traditional costume usually easily reveal their Published: 17.02.2020 nationalities. The Ghanaian Kente, Kenyan Kitenge, Nigerian Yoruba outfit, Moroccan Journal homepage: Djellaba or Indian Dhoti serve as national cultural insignia of their respective countries. The https://www.easpublisher.com/easjhcs reason why Cameroon is referred in tourist circles as a cultural mosaic is that she harbours numerous strands of culture including indigenous, Gaullist or Francophone and Anglo- Quick Response Code Saxon or Anglophone. Although aspects of indigenous culture, which have been grouped into four spheres, namely Fang-Beti, Grassfields, Sawa and Sudano-Sahelian, are dotted all over the country in multiple ways, Cameroon cannot still boast of a national culture emblem. The purpose of this article is to define the major components of a Cameroonian national culture and further identify which of them can be used as an acceptable domestic cultural device.
    [Show full text]
  • A Grammar of Gyeli
    A Grammar of Gyeli Dissertation zur Erlangung des akademischen Grades doctor philosophiae (Dr. phil.) eingereicht an der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät der Humboldt-Universität zu Berlin von M.A. Nadine Grimm, geb. Borchardt geboren am 28.01.1982 in Rheda-Wiedenbrück Präsident der Humboldt-Universität zu Berlin Prof. Dr. Jan-Hendrik Olbertz Dekanin der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät Prof. Dr. Julia von Blumenthal Gutachter: 1. 2. Tag der mündlichen Prüfung: Table of Contents List of Tables xi List of Figures xii Abbreviations xiii Acknowledgments xv 1 Introduction 1 1.1 The Gyeli Language . 1 1.1.1 The Language’s Name . 2 1.1.2 Classification . 4 1.1.3 Language Contact . 9 1.1.4 Dialects . 14 1.1.5 Language Endangerment . 16 1.1.6 Special Features of Gyeli . 18 1.1.7 Previous Literature . 19 1.2 The Gyeli Speakers . 21 1.2.1 Environment . 21 1.2.2 Subsistence and Culture . 23 1.3 Methodology . 26 1.3.1 The Project . 27 1.3.2 The Construction of a Speech Community . 27 1.3.3 Data . 28 1.4 Structure of the Grammar . 30 2 Phonology 32 2.1 Consonants . 33 2.1.1 Phonemic Inventory . 34 i Nadine Grimm A Grammar of Gyeli 2.1.2 Realization Rules . 42 2.1.2.1 Labial Velars . 43 2.1.2.2 Allophones . 44 2.1.2.3 Pre-glottalization of Labial and Alveolar Stops and the Issue of Implosives . 47 2.1.2.4 Voicing and Devoicing of Stops . 51 2.1.3 Consonant Clusters .
    [Show full text]
  • THE ORIGINAL AFRICAN MBIRA? (See Map)
    A/-^ <-*■*■*. g , 2 ' A 9 -1-2. THE ORIGINAL AFRICAN MBIRA ? THE ORIGINAL AFRICAN MBIRA? h §§* ANDREW TRACEY ft may be possible to show, one day, that all the different mbiras1 of Africa are descended from one another, and that all stem from one particular type, which can then te assumed to be the form of the instrument as it was originally invented. I would like D present here some evidence to show that in one large part of Africa at least all the ■any types of mbiras can be traced back, with greater or lesser degrees of probability, IB one type which must, at least, be very ancient, and at most, if connections with, or distribution to other mbira areas of Africa can be proved, may be the nearest we will get to knowing the earliest form of the mbira in Africa. The area comprises most of Rhodesia, central Mozambique, and southern and eastern and parts of southern Malawi, southern Mozambique, and northern Transvaal, >m Zunbia, Sooth Africa. Or, to put it more simply, much of the lower Zambezi valley, with a spill ell ire ant towards the south (see map). tl On first considering the bewildering variety of different types of mbiras played in this m, taking into account the different reed arrangements, methods of construction, tone anilities and musical techniques, it is hard to find any consistent family relationships. Bat if only one feature is taken as the main indicator, namely the arrangement of the •otei in the keyboard, which, as it appears, turns out to be a remarkably constant factor, Kreral interesting and far-reaching relationships come to light.
    [Show full text]
  • Music and Rights in West Africa
    MUSIC AND RIGHTS IN WEST AFRICA A cross-curricular teaching resource exploring the power of music with ages 7–11 Photo: Aubrey Wade Teachers’ overview 9 Introduction 4 Aims 4 Structure 5 Differentiation 5 Taking it further with Oxfam Education 5 Taking it further with Oxjam 5 Global Citizenship 6 Knowledge and understanding 6 Skills 6 Values and attitudes 6 Detailed lesson outlines 7 Lesson 1: Introduction to West Africa 9 Lesson information 9 Activity outline 10 Pupil sheet: Maimouna’s story 11 Background notes for teachers 12 Lesson 2: Exploring West African music 9 Lesson information 13 Activity outline 14 Pupil listening sheet 17 Background notes for teachers 18 Lesson 3: Exploring rights 9 Lesson information 19 Activity outline 20–22 Pupil sheet: Oumou Sangaré’s album ‘Seya’ 23 Pupil sheet: Sounsoumba – Oumou Sangaré 24 Pupil sheet: Wele, Wele Wintou – Oumou Sangaré 25 Background notes for teachers 26–30 Lesson 4: Raising Her Voice 9 Lesson information 31–32 Activity outline 33 Background notes for teachers 34 Photo: Kieran Doherty Teachers’ overview Raising Her Voice is an exciting Aims series of lessons that enables you • To provide real-life information to stimulate pupils’ interest in to deliver a cross-curricular project music and human rights. that will inspire and motivate pupils • To promote an awareness and appreciation of West African musical styles and instruments, and of diversity in West to learn about the role of music in African music. social change. Focusing on West • To provide opportunities to consider examples of how the Africa, this pack will guide learners rights of women and girls can be denied, and ways in which women in West Africa are using music to speak up for the through an exploration of aspects of protection of their rights.
    [Show full text]
  • A Missionary Handbook on African Traditional Religion
    African Traditional Religion A Missionary Handbook on PREFACE African Traditional Religion One of the important areas of study for a missionary or evangelist is to understand the beliefs that people already have before and during the time Lois K Fuller the missionary presents the gospel to them. These beliefs will shape how they understand the message and the problems they have if they want to respond. There are many books on African Traditional Religion. In Nigeria, most 2nd edition, 2001 of them concentrate on the religions of the tribes of the southern part of the This book was first published by NEMI and Africa Christian Textbooks country. This book tries to talk about traditional religion more generally, (ACTS), PMB 2020, Bukuru 930008, Plateau State, Nigeria. Reissued in this format with the permission of the author and publisher by exploring some of the religious ideas found in ethnic groups that do not Tamarisk Publications, 2014. have much of the gospel yet. Most textbooks on Traditional Religion web: www.opaltrust.org describe the religion without relating it to the teachings of the Bible. email: [email protected] However a missionary needs to know how to relate the Bible’s teaching to traditional beliefs. Lois K. Fuller has taught in schools of mission and theological colleges across This book is also about methods we can use to interest followers of ATR many denominations in Nigeria. She served for some years as Dean of Nigeria in the gospel and teach and disciple them so that they will understand the Evangelical Missionary Institute (NEMI).
    [Show full text]
  • DUKE-THESIS-2014.Pdf
    Copyright by Bethany Kay Duke 2014 The Thesis Committee for Bethany Kay Duke Certifies that this is the approved version of the following thesis: Palatial Soundscapes: Music in Maya Court Societies APPROVED BY SUPERVISING COMMITTEE: Supervisor: David S. Stuart Robin D. Moore Palatial Soundscapes: Music in Maya Court Societies by Bethany Kay Duke, B.A., B.A.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2014 Dedication And now I sing! So let there be flowers! So let there be songs! I drill my songs as though they were jades. I smelt them as gold. I mount these songs of mine as though they were jades. - Bierhorst 1985, 207 This thesis is dedicated to the memory of Dr. Brian M. Stross. Without his kind encouragement, patience, and enthusiasm, this work may never have been. Acknowledgements Many people helped me through the mad process of writing this work. The support, patience, and encouragement of my mentors, friends, and family knew no bounds. I would like to thank Drs. David Stuart, Robin Moore, Julia Guernsey, and Brian Stross. Without their incredible insights and guidance, this work would not have been possible. I wish to acknowledge my close friends Pixie, Cory, Patrick, Terra, Dylan, and Phil who always made sure I did not work too hard and yet kept me on track as well as Steve Hathcock who ignited my interest in archaeology all those long years ago.
    [Show full text]
  • Central Africa, 2021 Region of Africa
    Quickworld Entity Report Central Africa, 2021 Region of Africa Quickworld Factoid Name : Central Africa Status : Region of Africa Land Area : 7,215,000 sq km - 2,786,000 sq mi Political Entities Sovereign Countries (19) Angola Burundi Cameroon Central African Republic Chad Congo (DR) Congo (Republic) Equatorial Guinea Gabon Libya Malawi Niger Nigeria Rwanda South Sudan Sudan Tanzania Uganda Zambia International Organizations Worldwide Organizations (3) Commonwealth of Nations La Francophonie United Nations Organization Continental Organizations (1) African Union Conflicts and Disputes Internal Conflicts and Secessions (1) Lybian Civil War Territorial Disputes (1) Sudan-South Sudan Border Disputes Languages Language Families (9) Bihari languages Central Sudanic languages Chadic languages English-based creoles and pidgins French-based creoles and pidgins Manobo languages Portuguese-based creoles and pidgins Prakrit languages Songhai languages © 2019 Quickworld Inc. Page 1 of 7 Quickworld Inc assumes no responsibility or liability for any errors or omissions in the content of this document. The information contained in this document is provided on an "as is" basis with no guarantees of completeness, accuracy, usefulness or timeliness. Quickworld Entity Report Central Africa, 2021 Region of Africa Languages (485) Abar Acoli Adhola Aghem Ajumbu Aka Aka Akoose Akum Akwa Alur Amba language Ambele Amdang Áncá Assangori Atong language Awing Baali Babango Babanki Bada Bafaw-Balong Bafia Bakaka Bakoko Bakole Bala Balo Baloi Bambili-Bambui Bamukumbit
    [Show full text]
  • African Music Vol 6 No 3(Seb)
    16 JOURNAL OF INTERNATIONAL LIBRARY OF AFRICAN MUSIC NOTES ON MUSICAL INSTRUMENTS AMONG THE FULANI OF DIAMARE (NORTH CAMEROON) by VEIT ERLMANN I. Introduction The Central Sudan, enclosing the northern parts of the Cameroons and Nigeria, South-Niger and parte of Chad, has been viewed by different scholars under various aspects as one coherent area sharing certain cultural traits. Some of these are due to the impact of Islam during the past 500 years: town-culture, feudal social hierarchy, class distinctions, and literacy. The impact of Islam is strongest among the Hausa, Fulani1, Kanembu, Kanuri, Manga, Kotoko, and Shoa Arabs. For more than five centuries there has been a constant flow of economic, social and cultural exchange between these groups which also left its traces in the musical culture. Ethnomusicology does not seem to have focused very much on this area2, the Hausa being in fact the only ethnic group whose musical culture can be said to have been thoroughly explored3. Kanuri, Manga, and Shoa music are almost unknown, while the musical cultures of the Kanembu and Kotoko received at least some attention in few articles and casual record notes4. As for the Fulani of Cameroon some records exist 5, but no written information on their music is available. Hence, this paper attempts to give a general account of the musical organology of the Fulani in North Cameroon and to contribute to the completion of ethnomusicological knowledge in this area6 through the presentation of new material and the basic facts of Fulani organology (names of instruments and their parts, social usage, history).
    [Show full text]