Chapter 10—Musical Conversations
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CHAPTER 10—MUSICAL CONVERSATIONS: Section Comments/Observations 0:08 Atumpan and Eguankoba enter Communication and collective expression in 0:27 Drum rhythms become more clearly synchronized West African music 0:33—0:47 Instruments and Basic Rhythm Patterns Gongon = metal bell (such as cowbell, gankogui, etc.) 0:48—1:02 From = low-pitched drum Atumpan= medium-pitched drum 1:03—1:32 Eguankoba = high-pitched drum 1:33—end Musical Africanisms Using the following chart to create a reference guide to these Africanisms for use in subsequent listening experiences. When discussing the list provided on pages 195-196, refer to musical examples drawn from CD ex. #2-22. Musical Africanism Description/Explanation Complex polyphonic textures Akan Fontomfrom music, Eyisam Mbensuon, CD ex. # 2-22 Gongon rhythm pattern Layered ostinatos with varied repetition Conversational element Section Comments/Observations Improvisation 0:00—0:32 0:00 From signals beginning of performance Timbral variety 0:02 Gongon entry Musical Africanism Description/Explanation “Atlanta Kaira,” Toumani Diabete, Taj Mahal, and Ensemble, CD Distinctive pitch systems ex. # 2-25 and scales Listen to CD ex. # 2-25, then use the following chart to record comments and observations. Section Comments/Observations “Dounuya,” Seckou Keita, CD ex. # 2-24 Solo kora Dounuya serves as an introduction to the kora and to traditional jeliya introduction musical style. This selection features a text that operates at several 0:00—0:42 levels simultaneously, as well as a layered ostinato-based style of kora playing. Ensemble Listen to CD ex. # 2-24, then use the following chart to record introduction to observations. “Kaira” song 0:42—0:52 Section Comments/Observations “Kaira” song 0:00—0:09 0:53—1:28 0:10—0:24 Sataro # 1 1:29—2:50 0:25—0:29 Koni solo 0:30—1:08 2:51—3:32 1:09—1:40 Sataro # 2 3:33-4:21 1:41—2:14 Return of “Kairo” 2:15—2:56 song 4:22—end 2:57—end IM—10/2 Western African Collective Expression in a Global Musical Additional Resources World “Okan Bale,” Angelique Kidjo, CD ex. # 2-26 Visit the Online Learning Center at www.mhhe.com/bakan1 for additional learning aids, study help, and resources that “Okan Bale” is a lush pop ballad with a decidedly pan-African musical flavor. Listen to CD ex. # 2-26, then use the following chart to record supplement the content of this chapter. observations. Focus on the features of musical dialogue and the style of Visit www.smithsonianglobalsound.org and explore other audio Mamadou’s kora playing. and video examples from the cultures and styles discussed in this Section Comments/Observations chapter. Introduction Visit http://internationalmuzic.net and explore other audio and 0:00—0:35 video examples from the cultures and styles discussed in this chapter. First Verse 0:36—0:57 Websites First Bridge Section 0:58—1:18 www.taj-mo-roots.com First Chorus www.coraconnection.com/pages/toumani.html 1:19—1:51 www.angeliquekidjo.com Interlude (“Reprise” of introduction) 1:52—2:13 Second Verse 2:14—2:35 Second Bridge Section 2:36—2:57 Second Chorus 2:58—end IM—10/3 Chapter 10 Journal Key terms Definitions or explanations or comments Part 1: Information Africanisms Key terms Definitions or explanations or comments (musical) Akan Jeli Drum speech Hereditary jeli families (Kouyate, Tonal language Diabate, Sissoko) (e.g., Twi) Praise songs (in jeliya) Atumpan Bala Polyvocality (in West African Koni music) Kora Kumbengo Mande Birimintingo Jeliya Sataro Griot Sauta African diaspora Fon Fontomfrom IM—10/4 Supplemental Listening Examples 9 Hanzvadzi Thomas Mapfumo Zimbabwe 1 Obanu Obo Addy and Okropong Ghana Mapfumo was the first person in Zimbabwe to compose an original Royal ceremonial music that, until recently, was not played outside song in the traditional style. Before him, songs were always based the royal house. The layered patterns tell stories to those who upon tunes passed down for generations. He often wrote of the understand the language. struggle against the white minority gov’t. Eventually he was charge with subversion (in 1977) and sent to prison camp. To obtain his 2 Nabaya Foday Musa Suso Senegal release, Mapfumo agreed to perform a benefit concert for the ruling This song is about a boy flirting with a beautiful girl, but she puts party; at that concert, he sang only his most revolutionary songs. him down saying, “What?! So you think my beads are for everyone? This song is traditional – it mixes mbira rhythms and soukous style Foolish man! I have saved them for only one boy.” The boy replies, guitar playing; it is a story of a woman who is unhappily married to a “What a shame! Your beads are very powerful - so many of us have boastful and unfaithful husband. been bewitched by them!” 10 Ole Mpirai/Lion Hunting Song Maasai culture Kenya 3 Soutoukou Mamadou Diabate Mali Use of rhythmic breathing patterns and polyphonic throat singing. This is another example of the music of the griot. Trad. hunting song. 4 Joejoe Yalal Joe S. E. Rogie Sierra Leone 11 Kothbiro Ayub Ogada Kenya Palm wine music – an expression of people’s daily experiences. Has collaborated with Peter Gabriel; worked in projects that tried to “With his mellow guitar and smiling vocals, S. E. Rogie is known as reconcile the 45 different cultures and languages of Kenya. This the king of palm wine music. song features Ogada’s tenor voice and the playing of his nyatiti. It is 5 Esonta Chief Inyang Henshaw Nigeria about cattle-herding, “Dear children, the rain is coming, bring in the Highlife music – blends African aesthetics with American big band cattle, bring in our wealth.” and marching band music. Its peak popularity was in the 1950s and 12 Munomuno Samite Uganda 60s. Lyrics are the most important aspect of this style. Instruments – mbira, flutes, drums and guitar; rhythm – bakisimba 6 Essengo Ya Ngai Wendo Na Moundanda (trad. Baganda rhythm); Song is about an arrogant young man who Wendo Kolosoy and the Victoria Bakolo Miziki Orchestra Congo began to grow hair on his chest. He went to his grandfather’s house Features the mbira and combines popular Ngoma music and trad. and challenged the spirits in that house to come and have a Congolese styles wrestling match with him. The spirits heard his voice, came out and in a big voice they all shouted, “Who is that? We have been here a 7 Hello Hello Mose Fan Fan Congo very long time.” When he heard those loud voices, he got scared Dance music known as soukouss – influenced by Latin American and went out and shaved off all his chest hair. He wanted to be music young again and not fight the spirits. The moral of the story is that it 8 La Milonga de Ricardo en cha-cha-chá takes more than a little hair on the chest to make a man. Ricardo Lemvo & Makina Loca Congo 13 Hoya Hoye Seleshe Demassae A medley blending two classic Cuban tunes with a Zairean classic. Trad. children’s song. Children go from house to house singing the Cuban influence on African musicians started in the late ‘50s. Lemvo song and they are given small pieces of bread or coins. As they sing, moved to LA, where he sang in Cuban bands. Eventually, he began they crack a whip on the ground. to fuse soukous and Cuban music. IM—10/5 14 Sangoma Bakithi Kumalo South Africa Traditional African Instruments A Zulu healing song Text: Where is the witch doctor?/The sick ones are coming to the mother/Come close/Where does it hurt, little boy? 15 Langa Mo Aura Msimang South Africa Zulu ndlamu way of singing – play between male & female voices. Text: It will shake you up, EE O the dance to nourish your feet/We will walk it/ We’ll make you hot/We’ll go crazy/We’ll dazzle you/More sun, More sun/Who is Langa Mo?/We’re playing the Langa Mo 16 Mbube The Mahotella Queens South Africa Written in 1939 by Solomon Linda, it became famous when English words were written: “The Lion Sleeps Tonight” 17 Hendry Tarika Sammy Madagascar Unique culture – most of the people are descendants of immigrants from Indonesia and Southeast Asia (2,000 years ago); Instrument – valiha. Text: If a crowd crosses a river, crocodiles won’t eat them/Wolves won’t eat a flock of guinea fowl/Those who don’t want to stick together become sand/Those who want to unite become solid as a rock 18 Kyipellu This is a festival song praising and encouraging farmers at the Kyipellu harvest festival. Features the xylophone. IM—10/6 Study Guide: Video - “Atumpan: The Talking 9. What material is used for the drum head of the drum and how Drums of Ghana” is it prepared before it is placed on the drum? 1. How many drums are in a set of talking drums and what is the difference between them? 10. How are the drum heads held onto the drum? 2. Why are the drums being built? 11. Woven cloths, stool designs, jewelry shapes and the atumpan all have what in common? 3. For how long are the logs left in the jungle to season before they are used for drums? 4. What does the tree felling ceremony honor? 5. How does the master drummer teach the young student? 6. What tool is used to form the outer shape of the drum? 7. What tool is used to hollow out (“drill”) the interior of the drum? 8.