DOCSLIB.ORG

Musical Instruments Arsauth Africa Andrew Tracey

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Instruments Arsauth Africa Andrew Tracey Musical Instruments arsauth Africa Andrew Tracey he greatest of all musical instru­ cal bows came from the Khoi people, the ments on the African continent is original inhabitants of South Africa. Tthe voice. This is especially true in A musical bow is a string instrument South Africa, which has strong choral made of a long wooden stick, with one traditions but, compared with most string, usually of metal, stretched from African countries, relatively few indige­ end to end. To play some bows, a player nous instruments. We have many kinds strikes the string with a piece of grass or of musical bows, several drums, some a small stick. In other traditions, the reedpipes, and one xylophone. How is player rubs or "bows" it with a straight this selection to be explained? stick or with another small bow made of The answer can be found in cultural hair from a cow or horse tail. In still history and ecology. The majority of other places, one plays with one's fin­ South Africans are descendants of cattle­ gers, or with a small pick made of a keeping Nguni and Sotho peoples. These thorn or a piece of wood. Sometimes one semi-nomadic pastoralists traditionally makes the instrument sound by scrap­ lived on open, grassy plains and orga­ ing the notches cut in the bow with a nized themselves in large-scale societies rattle-stick. One bow is even blown with with powerful chiefs. Their principal the mouth - the lesiba, an original forms of public musical performance Khoi instrument that is still played were singing and dancing in large groups. among the Sotho people. In other parts of Africa also, cattle keep­ Although there are differences ers prefer singing to instrument-playing. between the many kinds of bows, all African farmers, on the other hand, A musician plays the pan flute at a flea market in have a resonator and at least two funda­ play more instruments. In South Africa Johannesburg. Photo courtesy SA TOUR mental notes. The resonator is a hollow these farmers are the northern peoples, gourd or tin that amplifies the sound of the Venda, the Tsonga, and the Pedi. to produce their sound. All four are rep­ the bow's vibrating string. If the player The kinds of plants that grow in a par­ resented in South Africa: chordophones holds the bow against his or her mouth, ticular ecology also determine the (in which strings vibrate), membra­ the mouth itself becomes the resonator. instruments that are played, because nophones (in which a skin or other Fundamental notes are the deepest notes people usually make instruments out of membrane vibrates), aerophones (in which the string gives, as against the local materials. People who live in or which a column of air vibrates), and higher notes, the harmonics, which you near forests use large trees to make idiophones (in which the body of the can hear coming from the resonator. drums and xylophones; people who live instrument itself vibrates). There are at least two fundamental in bushveld, the grassy plains in most of Although musical bows (chordophones) notes, although some bows give three or South Africa, make smaller instruments are played by few people these days, they more. The Zulu umakhweyana and the that use sticks, reeds, and gourds. once had a big part in music here; the Tsonga xitende give three. The Venda To grasp the variety of musical instru­ scales used in most traditional South tshihwana gives four. ments, scholars classify them into four African songs come from bow-playing. One note comes from the string when families, according to how they vibrate Historians believe that many of our musi- it is open - that is, when the player SMITHSONIAN FOLKLIFE FESTIVAL 1999 63 does not finger it or shorten it. Xhosa Once boys who herded livestock played Suggested eading call this note VU, from the word vuliwe reed flutes, but only rarely now. These Blacking, John. 1965. Venda Children's (open). The other, higher note comes instruments have finger holes like a penny Songs. Johannesburg: Witwatersrand from the string when a player fingers or whistle, but are blown on the side, not at University Press. shortens it in some way. Xhosa call this the end. The Zulu umtshingo -like the Coplan, David. 1985. In Township Tonight! BA, from banjiwe (held). The interval Xhosa ixilongo and the Sotho lekolilo- is South Africa's Black City Music and between VU and BA is often a whole made of reed or pawpaw leaf and is blown Theatre. Johannesburg: Longman. tone, but in Zulu tradition it is a semi­ at the end. The bottom end is the only fin­ Dargie, David. 1988. Xhosa Music: Its tone and in Tsonga, a minor third. ger hole, and it creates harmonics, like the Techniques and Instruments, with a Drums (membranophones) are musical bows. During dances, northern Collection of Songs. Cape Town: important instruments among the peoples sometimes blow on single kudu David Philip Publishers. northern peoples of South Africa. Venda (sable antelope) horns - called pha­ Kirby, P.R. 1968. The Musical Instruments call them murumba and ngoma; among laphala in Venda, phalafala in Pedi, and of the Native Races of South Africa. Tsonga they are ngoma; and among Pedi, xipalapala in Tsonga. Johannesburg: Witwatersrand they are meropa. Drums are royal instru­ The northern peoples are traditionally University Press. ments among Venda; they are symbols of the only ones in South Africa who play Malan, J.P., ed. 1982. "Indigenous music?' royal authority. Traditional drums are the mbira or thumb piano (an idio­ In South African Music Encyclopedia. made of wood with a skin on one or phone ), a small instrument with a Vol. 2, pp. 265- 508. Cape Town: both ends. Each drummer in a group wooden body and 10 to 22 or more Oxford University Press. plays a different but related rhythm to tuned iron keys fixed to it. A player Rycroft, David.1981. "The Musical Bow in create polyrhythmic music. plucks the keys with the thumbs or fin­ Southern Africa?' 2nd Symposium on Zulus and Swazis also play many gers. These mbiras are played unaccom­ Ethnomusicology, pp. 70- 76. drums these days. They first borrowed panied for the player's enjoyment or to Wells, Robin. 1994. An Introduction to the their design in the late 1800s from the accompany topical and personal songs. Music of the Basotho. Morija, drums of British army bands. These There was only one traditional xylo­ Lesotho: Morija Museum and modern instruments, as well as those phone in South Africa, the Venda mbila Archives. used by Zionist Christian churches, are mutondo, a beautiful, large instrument usually made of metal oil drums with a with carved wooden keys and gourd res­ Suggested Listening skin laced on at both ends. Even when onators underneath, played with rubber­ African Music Society Awards 2. Music of there are many, they are all played tipped sticks. Unfortunately, it is no Africa 15. together in the same powerful unison longer played. The modern Afro- marim­ African Music Society Awards 3. Music of rhythm. ba from Zimbabwe, made in four differ­ Africa 16. Reedpipes (aerophones) are often ent sizes and played in groups, has Dances of the Witwatersrand Gold Mines. played by large groups of people on become very popular in the cities since Music of Africa 12, 13. important social occasions. Each reed­ 1980, especially among Xhosa speakers. Songs from the Roadside - South Africa. pipe is a simple instrument made of a Music of Africa 18. single river reed cut to the right length Andrew Tracey is director of the International Songs from the Roadside - Zimbabwe. to sound a particular note on the scale. Library ofAfrican Music at Rhodes Univer­ Music of Africa 19. But reedpipes are played together coop­ sity, Grahamstown, the archive and institute The Zulu Songs of Princess Magogo. Music eratively in a very complex way. Each for the study of traditional African music of Africa 37. man inserts his one note into the music founded by his father, Hugh Tracey, in 1954. at exactly the right time, while dancing Hugh spent his life documenting African simultaneously to rhythms provided by music; Andrew has spent his studying instru­ a women's drum ensemble that performs mental playing in Zimbabwe, Mozambique, at the center of a circle of dancing men. and elsewhere, which now forms part of the Best known are the reedpipes of the degree course for prospective ethnomusicologi­ northern peoples, the Venda tshikona cal researchers offered at Rhodes University. (which is also the Venda national dance) He has lectured widely, appeared on televi­ and the Pedi dinaka, as well as the sion, and has perhaps been even better known Tswana/Bamalete letlhaka in Botswana. over the last 30 years for his steel band. 64 SMITHSONIAN FOLKLIFE FESTIVAL 1999 .
Load more

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]
  • Published Papers of the Ethnomusicology Symposia
    International Library of African Music PAPERS PRESENTED AT THE SYMPOSIA ON ETHNOMUSICOLOGY 1ST SYMPOSIUM 1980, RHODES UNIVERSITY (OUT OF PRINT) CONTENTS: The music of Zulu immigrant workers in Johannesburg Johnny Clegg Group composition and church music workshops Dave Dargie Music teaching at the University of Zululand Khabi Mngoma Zulu children’s songs Bongani Mthethwa White response to African music Andrew Tracey 2ND SYMPOSIUM 1981, RHODES UNIVERSITY (OUT OF PRINT) CONTENTS: The development of African music in Zimbabwe Olof Axelsson Towards an understanding of African dance: the Zulu isishameni style Johnny Clegg A theoretical approach to composition in Xhosa style Dave Dargie Music and body control in the Hausa Bori spirit possession cult Veit Erlmann Musical instruments of SWA/Namibia Cecilia Gildenhuys The categories of Xhosa music Deirdre Hansen Audiometric characteristics of the ethnic ear Sean Kierman The correlation of folk and art music among African composers Khabi Mngoma The musical bow in Southern Africa David Rycroft Songs of the Chimurenga: from protest to praise Jessica Sherman The music of the Rehoboth Basters Frikkie Strydom Some aspects of my research into Zulu children’s songs Pessa Weinberg 3RD SYMPOSIUM 1982, UNIVERSITY OF NATAL and 4TH SYMPOSIUM 1983, RHODES UNIVERSITY CONTENTS: The necessity of theory Kenneth Gourlay Music and liberation Dave Dargie African humanist thought and belief Ezekiel Mphahlele Songs of the Karimojong Kenneth Gourlay An analysis of semi-rural and peri-urban Zulu children’s songs Pessa Weinberg
    [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]
  • African Music Vol 6 No 3(Seb)
    130 JOURNAL OF INTERNATIONAL LIBRARY OF AFRICAN MUSIC and Africa. Consequently, African visibility during the Seminar was high, with substantial delegations from Angola and Mozambique, and musical groups from Portugal, Cape Verde and African countries, as well as film shows such as Andrew Tracey’s films on the Chopi timbila dance. The Seminar was named in honour of the Portuguese musicologist Margot Dias, who was also present. It was tightly and efficiently organised by Domingos Morais of the Museu de Etnologia and took place in the beautiful conference hall and display area of the new Museum building. The meetings were in the mornings, while afternoons were reserved for lectures by local participants, film shows and live concerts. This was the morning programme: 16 May, 9.30-11, Reception and official opening; 11.15-12, Kazadi waMukuna: “Abordagem inter-disciplinar em etnomusicologia” (The interdisciplinary approach in ethnomusicology). 17 May, 9.30-11, Panel discussion of Kazadi waMukuna’s paper; 11.15-12, Gerhard Kubik: “Abordagem intracultural na metodologia de estudos africanos” (The intra-cultural approach in the methodology of African studies), with musical demonstrations by Donald Kachamba (Malawi) and the lecturer. 18 May, 9.30-11, Panel discussion of Gerhard Kubik’s paper, 11.15-12, Monique Desroches: “Pertinencia e validagao de um modelo analitico em etnomusicologia” (Relevance and evalua­ tion of an analytical model in ethnomusicology), based on her field research in Martinique. 19 May, 9.30-11, Panel discussion of Monique Desroches’ paper; 11.15-12, Andrew Tracey: “Musica em Mozambique: estrutura e fungao” (Music in Mozambique: structure and function), with musical demonstrations on timbila, mbira and other instruments by the lecturer.
    [Show full text]
  • Alternate African Reality. Electronic, Electroacoustic and Experimental Music from Africa and the Diaspora
    Alternate African Reality, cover for the digital release by Cedrik Fermont, 2020. Alternate African Reality. Electronic, electroacoustic and experimental music from Africa and the diaspora. Introduction and critique. "Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans. Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress." – Binyavanga Wainaina (1971-2019). © Binyavanga Wainaina, 2005. Originally published in Granta 92, 2005. Photo taken in the streets of Maputo, Mozambique by Cedrik Fermont, 2018. "Africa – the dark continent of the tyrants, the beautiful girls, the bizarre rituals, the tropical fruits, the pygmies, the guns, the mercenaries, the tribal wars, the unusual diseases, the abject poverty, the sumptuous riches, the widespread executions, the praetorian colonialists, the exotic wildlife - and the music." (extract from the booklet of Extreme Music from Africa (Susan Lawly, 1997). Whether intended as prank, provocation or patronisation or, who knows, all of these at once, producer William Bennett's fake African compilation Extreme Music from Africa perfectly fits the African clichés that Binyavanga Wainaina described in his essay How To Write About Africa : the concept, the cover, the lame references, the stereotypical drawing made by Trevor Brown..
    [Show full text]
  • K-REV: the KNIGHT-REVISION of HORNBOSTEL-SACHS a System for Musical Instrument Classification by Roderic Knight, Oberlin College, © 2015
    K-REV: The KNIGHT-REVISION OF HORNBOSTEL-SACHS A system for musical instrument classification by Roderic Knight, Oberlin College, © 2015 Organology, or the scientific study of musical instruments, has ancient roots. In China, a system of classification known as the pa yin or “eight sounds” was devised in the third millennium BCE. It was based on eight materials used in instrument construction (but not necessarily in sound production) and allied to other physical and metaphysical phenomena. More recently, but still in ancient times, the Indian sage Bharata outlined in his Natyashastra (ca. 200 CE) a classification based on how the sound is produced: by blowing (sushira), setting a string in motion (tata), hitting a stretched skin (avanaddha), or hitting something solid (ghana). This system endures as a worldwide phenomenon today because Victor Mahillon adopted it for his catalog of the instruments in the Brussels Conservatory museum in the 19th century, and because his system was picked up in turn by Erich M. von Hornbostel and Curt Sachs in producing their seminal Systematik der Musikinstrumente (Classification of Musical Instruments) in 1914. Hornbostel and Sachs sought to universalize the Mahillon catalog by developing a hierarchy of terms that could encompass all the methods of sound production known to humankind. They used three of Mahillon’s terms: aerophone, for the “winds and brass” of the orchestra and all other instruments that produce a sound by exciting the air directly; chordophone, for all stringed instruments (including the keyboards); and membranophone for drums. Hornbostel and Sachs replaced Mahillon’s fourth term, autophone (for instruments whose body itself, or some part of the body, produces the sound – the Indian ghana type), with their newly coined term, idiophone, to avoid the ambiguous implication that an “autophone” might sound by itself.
    [Show full text]
  • Interview with Diane Thram by Meredith Holmgren, in Conversation with Diane Thram
    Spring 2014 Interview with Diane Thram by Meredith Holmgren, in conversation with Diane Thram The International Library of African Music (ILAM) at Rhodes University in Grahamstown, South Africa, is widely considered to be the oldest and largest repository of African music field recordings in the world. Founded in 1954 by Hugh Tracey as a research institution and archive, it preserves thousands of historical recordings going back to 1929 and continues to support contemporary fieldwork. Among its most renowned recordings is Hugh Tracey’s seminal Sound of Africa series—selections of which are available from Smithsonian Folkways Recordings—which remains among the most influential fieldwork in the field of African ethnomusicology. Smithsonian Folkways Magazine editor Meredith Holmgren corresponded with ILAM’s director Diane Thram about their impressive collections and projects. The following represents an abbreviated, edited version of the conversation. ***** MH: What are the main collections at the International Library of African Music (ILAM)? DT: ILAM’s major holding is the Hugh Tracey collection, but other holdings include the Andrew Tracey collection and Dave Dargie collection... We’ve recently processed Jaco Kruger’s field collection, which includes extensive research on Venda music, from the northern part of South Africa. And [we have] another collection from a sociologist here at Rhodes University [Michael Drewett] who did a lot of research on the censorship of popular music during apartheid. His field recordings are being processed now and digitized. It’s an ongoing thing. We receive deposits from researchers doing work with African music and one of our aims is to build the archive.
    [Show full text]
  • Redalyc.People and Sounds": Filming African Music Between Visual
    Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España D´Amico, Leonardo People and sounds": filming African music between visual anthropology and television documentary Trans. Revista Transcultural de Música, núm. 11, julio, 2007, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82201106 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative People and sounds”: Filming African music between visual anthropology and televi... Página 1 de 10 Revista Transcultural de Música Transcultural Music Review #11 (2007) ISSN:1697-0101 People and sounds”: Filming African music between visual anthropology and television documentary Leonardo D'Amico Università di Ferrara Università di Siena Abstract Watching music, and not only listening to or writing about it, is a priority to deepen in the knowledge of traditional music both in Europe and elsewhere. Since visual anthropology was born, there have been different ways to convey this idea. Through a review of the documentary films produced from the fifties until the present time, the paper shows the historical changes on the film industry priorities with regard to world music portrayals. The dialectal tension between fictional and ethnographic approaches has been a constant. This paper supports the premise that auteur films can reach ethnomusicological level, although not being scientific, and have an added poetical value of great help in this field.
    [Show full text]
  • CRAIG WOODSON a World Orchestra PREPARING for the EXPERIENCE: Art Form: Music the Music and Instruments Introduced in Dr
    C U R R I C U L U M C O N N E C T I O N CRAIG WOODSON A World Orchestra PREPARING FOR THE EXPERIENCE: Art Form: Music The music and instruments introduced in Dr. Craig Style: Classical to Contemporary Woodson’s performance are part of four broad musical Culture: Asia, Africa. Europe and the Americas cultures studied by ethnomusicologists. These include: MEET THE ARTIST: Africa, Asia, Europe, and the Americas. On each of these continents, there exists music which is based on an oral Dr. Craig Woodson, an educator, author, musician, tradition; that is, music learned by listening and then consultant, and musical instrument maker, holds a doctorate imitating what is heard. This is a different approach than in music from U.C.L.A. His career as a musician includes the one traditionally taken in Western art music. In this playing drums with Elvis Presley and Linda Ronstadt. In 1974 tradition, the music is often written down with symbols he founded Ethnomusic, Inc. as an outgrowth of his and students begin their study by learning the written specialization in instrument making, African drumming, and musical language. ethnomusicology. Later these interests took him to Ghana, Music based on an oral tradition is typically passed on West Africa for three years as an invited researcher. In the from master to student and from one generation to the 1980's, he began school presentations on world music, next. This imitative process provides the student with a African drumming, and percussion from around the world. clear model to guide his or her own musical He has facilitated drum circles and has presented workshops development.
    [Show full text]
  • THE TALKING DRUM July 2009
    THE TALKING DRUM July 2009 Learning how to play Karimba (revision of article in issue #30) Perminus Matiure Collaborative learning: community and university as — partners in the learning process M Staff and students, North-West University fi Intensive music courses for Arts J and Culture teachers Hetta Potgieter IJ Conferences 16 Recommended Readings/ Website 18 DVDs 18 The Talking Drum • Newsletter Issue No. 3 I • July 2009 Network for promoting Interculturai Education through Music (NETIEM) Pan-African Society of Musical Arts Education (PASMAE) Prof. E Oehrle, School of Music, University of KwaZulu-Natal, Durban, 4041 South Africa Fax:+27 (31) 260-1048 • E-mail: [email protected] Editor: Prof. Elizabeth Oehrle illlllKWUWMB Illustration for The Talking Drum: Dina Cormick Editorial sharing of his knowledge and love of address often changes, but currently all this indigenous instrument through back issues of TTD should be found at he Talking Drum is fortunate The Talking Drum. music.ukzn.ac.za/HomePage7865 - next T indeed to be able to turn to click - Recent Publications then scroll Andrew Tracey for assistance. Readers Hetta Potgieter from the North-West down to the bottom of that page for will recognize that this cover includes University in Potchefstroom features TTD on line. You may also Google: The the same pictures of the two mbiras in this issue once again. Her work Talking Drum ukzn. which appeared on the cover of the with her students and in her previous issue. The small mbira on the community is ground-breaking and TTD, mouthpiece for PASMAE (Pan left was made by Andrew from a very relevant.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • The Kalimba, Its African History, and Black Pride V3.Indd
    e Kalimba, its African History, and Black Pride Mark Holdaway Kalimba Magic ere are so many types of kalimba! Where did it all start? e Kalimba is an ancient instrument from Africa First documented by a European in 1586 when Portugese mis- sionary Father Dos Santos wrote about a 9-note instrument called the Ambira while traveling in Mozambique: “ ey strike the keys as lightly as a good player strikes those of a harpsichord... they produce a sweet and gentle harmony of accordant sounds.” But the kalimba was already an ancient instrument in 1586! First invented about 3000 years ago... Bamboo kalimbas! About 1300 years ago, metal-tined kalimbas were born in southern Africa when the Iron Age arrived. Hugh Tracey (1903-1977) was a “musical explorer” of Africa, traveling, document- ing, and recording music in southern Africa for 50 years. But Hugh’s son Andrew Tracey comes closer to un- locking the secrets of the kalimba.... Andrew Tracey beside a pho- to of his father Hugh Tracey, Starting in the late 19th century, imperi- alistic European colo- nization in Africa took much land from Afri- ca’s peoples. Cities developed and in the 1920’s and 30’s poor Africans moved to cities for jobs and a new and dif- ferent life from their tradi- tional, rural roots. Durban, South Africa, circa 1925. Blacks were not allowed to own land or live in cities. If they wanted to work, black migrants were forced to live in shantytowns, or townships, that sprang up around the cit- ies. Europeans had almost no regard at all for traditional African music, and from long before colonial days in Africa, Christian missionaries had been preaching and teaching hymns.
    [Show full text]