Iah 241A African Music

Front 1

aerophones:

Back 1

blown into, vibrating columns of air.
-blowhole
-single reed
-double reed
-whistle

Front 2

chordophones

Back 2

vibrating strings
-bow
-lyre
-harp- zither
-lute

Front 3

membranophones

Back 3

vibrating membrane
drums and harmonicas
djembe- hourglass drum

Front 4

idiophones

Back 4

misc.
rattles, bells, xylophone, mrimba

Front 5

mbira

Back 5

shona culture, Zimbabwe
an idiophone that is approx 500 years old
used by jaliya

Front 6

djembe

Back 6

a one headed, hour-glass shaped drum

Front 7

Kora

Back 7

21 string chordophone. popular in W. Africa

Front 8

xylophone

Back 8

idiophone. popular in african music

Front 9

individual life cycle (main events)

Back 9

birth, puberty, courtship, hunters, mothers, death, funeral, ancestor status

Front 10

annual cycles

Back 10

climate, agricultural cycles, religion, anniversaries

Front 11

daily events

Back 11

work, recreation, healing, litigation, socialization, education, praise and criticism

Front 12

musical characteristics
interactions (textures)

Back 12

antiphonal
call and response
unison
leader over group
hocket

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antiphonal

Back 13

equal groups of voices or instruments in alteration

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call and response

Back 14

leader alternates with a larger group

Front 15

unison

Back 15

all singing the same melody

Front 16

leader over accompaniment

Back 16

1 is heard over background music

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polyphonic

Back 17

multiple parts all equal.

Front 18

hocket

Back 18

alternates one word. hey, whats, up

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strong beat

Back 19

clear and stays consistent usually. .what we clap or stomp to

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tempo

Back 20

how fast the music plays. usually 80-160 bpm

Front 21

timeline

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continuous repeating pattern after a certain number of beats

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subdivision of beat

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how many beats before the pattern repeats (usually 2,3,4)

Front 23

multiple layers

Back 23

polyphonic. how many instruments or ppl can be counted

Front 24

syncopation

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sounds on the offbeats in a musical piece

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buzz factor

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raspy buzz sound created by:
beads on garments
jewelry on dancers
beads on drums
gourds unders xylophones

Front 26

open-ended forms

Back 26

a performance can last as long as needed. pieces based on short phrases of rhythm or melody and can be repeated continuously.

Front 27

tonal languages

Back 27

change of inflection on different parts of words, changing the meaning.
instruments mimic animal noises
instruments used to tell stories

Front 28

oral tradition

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how music is passed on. stories are told and ppl listen and see and learn that way

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jaliya

Back 29

musicians based on heridity.known to have spiritual powers. makes play kora or xylophone. women sing and dance

Front 30

how old is traditional music?

Back 30

no real accounts. earliest recorded date is 1068

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how old are instruments?
kora, mbira, xylophone

Back 31

kora- 200yrs old
mbira- 500 yrs old
xylophone- 13th century

Front 32

evidence

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oral histories, some written accounts in 1623

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characteristics of traditional music (5)

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rhythm and consistent beat
interactive performance
buzz factor
open ended
heterogeneous unblended sounds. distict rhythm

Front 34

various uses of traditional music

Back 34

individual life events
annual cycles
daily activities
praise and worship...warnings, teaching..

Front 35

how are african rhythms put together?

Back 35

feeling the beat- is highly developed. babies carried on mothers backs as they dance. childrens games involve rhythm. physical work in rhythmic patterns

Front 36

typical music groups- what is the size and makeup?

Back 36

singing 20-30 ppl, 8-10 musicians at most.

Front 37

associated groups

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formal connections to an institution. training may be involved

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autonomous groups

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club or community group. perform a specific repetoire. preserve tradition. no formal conection

Front 39

traditional dance- functions

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may depict honor, praise, invite, or inhibit the presence of the god or spirit, heat up spiritual atmosphere

Front 40

traditional dance- groups

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some dances for certain groups. ex: young women

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song texts (12)

Back 41

praise, criticism, boasting, advice, lullaby, warning, consolation, personal feelings, history, stories, childrens songs, wisdom

Front 42

singing styles

Back 42

solo singing
group polyphony
choral sound

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solo singing (where it occurs)

Back 43

jaliya- Sahel region, west africa

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group polyphony (where)

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Central Africa

Front 45

choral sound- mbube

Back 45

South Africa

Front 46

typical African singing style

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1. medium-high voice
2. medium-loud volume
3. relaxed manner
4. thin sound
5. moderate degree of noise and rasp
6. straight tone
7. narrow range
8. neither smooth nor detached style

Front 47

singing style characteristics ( 4)

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pitch presentation-if youre in tune
'abnormal' singing- humming, falsetto
vocal interjections- grunts, whoops
disguised voices- using helium

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orishas

Back 48

lesser gods, each with distinct powers

Front 49

mediums

Back 49

ppl who can contact the spirits

Front 50

bira ceremonies

Back 50

to contact ancestral spirits

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spirit possession

Back 51

dreams and visions

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diviners

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interpret spirit world messages

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gatekeeper

Back 53

religious usher of the shrine

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priest

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ritual leader

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healer/medicine man

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one with the knowledge to heal

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shrine

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place of religious significance

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fetish

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object known to have special powers

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talisman

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object with special powers that is worn by someone

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libation

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ceremonial offering of drink

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sacrifices

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ceremonial offerings to bless a ritual or invoke spirits

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masks and costumes

Back 61

used to impersonate characters like hunters and warriors. used in dance and ceremonies

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cosmology

Back 62

organized view of the natural world
elements and colors have significance

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purposes of religion and music (3)

Back 63

-used to connect to the spirit world
-used to generate spiritual heat
-gives structure, unifies and supports dance

Front 64

ritual (3 aspects)

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1. everyone contributes to the success of the village
2. survival depends on everyone
3. everyone is part of a continuum (babies and elders are closest to the spiritual world)

Front 65

alafia definition

Back 65

shrine ceremony

Front 66

central fetish of alafia festival

Back 66

a cola nut

Front 67

when did the alafia festival originate

Back 67

in the ashanti kingdom over 200 yrs ago

Front 68

alafia ceremony elements (7)

Back 68

1. libations
2. offerings of food and drink
3. ancestors' spirit totems
4. castings
5. sacrifice
6. cola nut offered
7. rituals of purification

Front 69

colonialism

Back 69

europeans bringing christianity to africa

Front 70

colonialism (when)

Back 70

15th to min 19th centuries.
european contact with africa was limited to trade, exploration, and missions

Front 71

concessionary rule

Back 71

companies involved with like mining and agriculture etc get authority to set up systems to govern and tax local populations

Front 72

cosmology

Back 72

organized view of the natural world
elements and colors have significance

Front 73

purposes of religion and music (3)

Back 73

-used to connect to the spirit world
-used to generate spiritual heat
-gives structure, unifies and supports dance

Front 74

ritual (3 aspects)

Back 74

1. everyone contributes to the success of the village
2. survival depends on everyone
3. everyone is part of a continuum (babies and elders are closest to the spiritual world)

Front 75

alafia definition

Back 75

shrine ceremony

Front 76

central fetish of alafia festival

Back 76

a cola nut

Front 77

when did the alafia festival originate

Back 77

in the ashanti kingdom over 200 yrs ago

Front 78

alafia ceremony elements (7)

Back 78

1. libations
2. offerings of food and drink
3. ancestors' spirit totems
4. castings
5. sacrifice
6. cola nut offered
7. rituals of purification

Front 79

colonialism

Back 79

europeans bringing christianity to africa

Front 80

colonialism (when)

Back 80

15th to min 19th centuries.
european contact with africa was limited to trade, exploration, and missions

Front 81

concessionary rule

Back 81

companies involved with like mining and agriculture etc get authority to set up systems to govern and tax local populations

Front 82

cosmology

Back 82

organized view of the natural world
elements and colors have significance

Front 83

purposes of religion and music (3)

Back 83

-used to connect to the spirit world
-used to generate spiritual heat
-gives structure, unifies and supports dance

Front 84

ritual (3 aspects)

Back 84

1. everyone contributes to the success of the village
2. survival depends on everyone
3. everyone is part of a continuum (babies and elders are closest to the spiritual world)

Front 85

alafia definition

Back 85

shrine ceremony

Front 86

central fetish of alafia festival

Back 86

a cola nut

Front 87

when did the alafia festival originate

Back 87

in the ashanti kingdom over 200 yrs ago

Front 88

alafia ceremony elements (7)

Back 88

1. libations
2. offerings of food and drink
3. ancestors' spirit totems
4. castings
5. sacrifice
6. cola nut offered
7. rituals of purification

Front 89

colonialism

Back 89

europeans bringing christianity to africa

Front 90

colonialism (when)

Back 90

15th to min 19th centuries.
european contact with africa was limited to trade, exploration, and missions

Front 91

concessionary rule

Back 91

companies involved with like mining and agriculture etc get authority to set up systems to govern and tax local populations

Front 92

direct rule

Back 92

when european presence is in africa, making governing decisions

Front 93

indirect rule

Back 93

already established, so indigenous leader rules

Front 94

anglophone

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english is main language

Front 95

francophone

Back 95

french is main language (rule by france or belgium)

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lusophone

Back 96

portugal ruled so portugese is official language

Front 97

legacy of colonialism

Back 97

1. language
2. christianity
3. economic despair and poverty
4. mass media
5. education and governing changes
6. boundaries made

Front 98

when did colonialism occur

Back 98

15th - mid 19th century. european precense was for exploration, trade, and missions

Front 99

tradtional elements of popular music (12)

Back 99

1. traditional instruments
2. singing styles are traditional
3. interactions- call and response
4. rhythm styles are traditional
5. short repetitive phrases
6. song texts deal with traditional topics
7. old languages
8. political protest
9. men are the majority
10. traditional dress used
11. paid in traditional ways
12. dont use high technology

Front 100

new elements of popular music (6)

Back 100

1. new instruments
2. deal with topics such as national pride, education, preserving environ
3. national languages used
4. political protest
5. some have recordings and international tours
6. influence based on the country that rules

Front 101

neo-traditional music

Back 101

traditional music with some new aspects like electric guitars

Front 102

neo-traditional styles (3)

Back 102

wassoulou, chimurenga, mbube

Front 103

mbube- location and definition

Back 103

south africa. choral music. rich harmonic stle. call and response and vocal interjections.

Front 104

iscathamiya

Back 104

form of costume and choreography used by mbube groups

Front 105

kwela

Back 105

township jive. stle of south african popular music from the 1950s-70s. preformed on street corners.

Front 106

3 chord harmony

Back 106

repeating form of music. using european instruments usually. ises 1, 4, 5 chords.

Front 107

mbaqanga

Back 107

south african music form involving kwela and mbube. 3 chord harmony, guitars, usually low pitched male lead singer.

Front 108

apartheid

Back 108

south africa. the legalized system of segregation and discrimination used by white minority to control black majority

Front 109

censorship

Back 109

during apartheid, forms of political and artistic expression were censored.

Front 110

Miriam Makeba

Back 110

great figure of S. African music. international singing star of the 1950s. was in the film, Come Back, Africa. was anti-aparatheid, her music was banned.

Front 111

Ladysmith Black Mabazo

Back 111

best known s. african isicathamiya

isicathamiya- male choirs who elaborate their mbube singing with fancy costumes and elaborate choreography.

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Hugh Masekela

Back 112

south african jazz musician. he achieved major international reputation because of his trumpet skillzzzz

Front 113

Johnny Clegg

Back 113

white south african who studied Zulu language music, and dance. teamed up with black musicians to form music groups.

Front 114

war of liberation

Back 114

zimbabwe.1967-1980. conflict between white minority and black opposition

Front 115

chimurenga

Back 115

style of music. used to politicize the population in conflict btwn the white minority gov of Ian Smith and black population led by Robert Mugabe and Joshua Nkomo.based on mbira dzavadzimu, ises vioce, mrimba and rattles

Front 116

Thomas Mapfumo

Back 116

added mbira and rattles to his chimurenga group. his music is about struggle for liberation. did covers of non-african styles. banned on the radio, but popular in Zimbabwe

Front 117

Oliver M'tukudzi

Back 117

mixes chimurenga, rumba, mbaqanga. popular in Zimbabwe

Front 118

finger-picking guitar styles

Back 118

in the congo region. developed in katanga province. popular music style int the congo

Front 119

influence of afro-cuban music on congo region

Back 119

rumba, son, merengur, and chacha incorporated in mid 20th century.some claim that cuban influences were essentially african to begin with

Front 120

rumba

Back 120

caribbean/cuban style popular in the congo region

Front 121

soukous

Back 121

naub popular music style in the congo. strongly influenced by afro-cuban styles. 4 beat bass, high tempo, guitar lines.

Front 122

Franco

Back 122

singer/composer. founding father of Zairian music in the congo. recorded in mid 1950s made over 1000 recordings in his career

Front 123

Papa Wemba

Back 123

major performer of the congo in recent years. associated with speed soukous and 'sapeur' fashion (flashy dress)

Front 124

juju

Back 124

major style of nigerian music. the name of the frame drum used in early groups along with guitar.played at important ceremonies and urban night spots.

Front 125

historical development of juju in nigeria

Back 125

dates back to the 1930s. by 1940s, groups began to grow in size. pieces were long and had extensive interaction between instruments and groups

Front 126

typical instruments of juju style

Back 126

guitar, banjos. elevtic guitars now used. more percussion. keybords and synthesizers added.

Front 127

functions and form of juju

Back 127

long, features interactions between instruments and vocal groups, extended instrumental solos, wail of steel guitar and talking drum

Front 128

finger-picking guitar styles

Back 128

in the congo region. developed in katanga province. popular music style int the congo

Front 129

influence of afro-cuban music on congo region

Back 129

rumba, son, merengur, and chacha incorporated in mid 20th century.some claim that cuban influences were essentially african to begin with

Front 130

rumba

Back 130

caribbean/cuban style popular in the congo region

Front 131

soukous

Back 131

naub popular music style in the congo. strongly influenced by afro-cuban styles. 4 beat bass, high tempo, guitar lines.

Front 132

Franco

Back 132

singer/composer. founding father of Zairian music in the congo. recorded in mid 1950s made over 1000 recordings in his career

Front 133

Papa Wemba

Back 133

major congo region performer. speed soukous and sapeur fashion- flashy dress

Front 134

juju

Back 134

popular style in nigeria.

Front 135

historical development of juju

Back 135

1940s- groups grow in size
1950s- 8-9 member groups
1970s-15 musicians. a leader with backup singers and 3-5 guitars. drums and talking drums were important.

Front 136

typical instruments

Back 136

guitars, electric guitars, rattles, talking drums, synthesizers, keyboards

Front 137

funcitons and form

Back 137

used at important ceremonies, night clubs, sensial enjoyment, include proverbs, used in commercials, long pieces with interactions between instuments and voices, long instrumental solos. steel guitar and drums

Front 138

King Sunny Ade

Back 138

originally a drummer, now a guitar wizard and band captain of leading modern juju band.

Front 139

I.K.Dairo

Back 139

His Blue Spots, a juju group of long-standing popularity

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Fela Kuti

Back 140

popular nigerian musician, not part of the juju movement. was a jazz trumpet player and then former a band and deeloped a style called 'afro beat'

Front 141

highlife

Back 141

ghana. began in 1920s. 4 types: palm wine highlide, dance band highlife, brass band highlife, guitar band highlife

Front 142

characteristics of highlife music

Back 142

moderate tempo
bouncy, multilayered rhythm
timeline on a bell

Front 143

palm wine highlife

Back 143

associated with palm wine drinking spots using voice, guitar, drum, bell, rhythm sticks

Front 144

dance band highlife

Back 144

night club music of urban areas with american dance band instruments *trumpet, clarinet.....drums)

Front 145

brass band highlife

Back 145

using traditional european brass band instruments plus some african drums and idiophones

Front 146

guitar band highlife

Back 146

the basic instrumentation of modern rock with various african drums and idiophones

Front 147

E.T Mensah

Back 147

highlife band. well known.

Front 148

continuation of the jaliya culture and singing style

Back 148

Mali. high, intense voices, kora and xylophone and traditional drums.

Front 149

wassoulou

Back 149

in mali. distinctive women's singing style built around 6-string harp and xylophone. now with guitars and drum set.

Front 150

Salif Kieta

Back 150

albino singer chose to be a musician. gained fame as a singer.from mali/senegal/gambia/guinea region

Front 151

Ali Farka Toure

Back 151

from a noble family. played with a traditional cultural troupe. from mali/senegal/gambia/guinea region

Front 152

influence of latin american styles in senegal

Back 152

cuban rhythms and tunes and words.

Front 153

mbalax

Back 153

style of traditional wolof drumming in senegal. drum patterns taken over by guitars and combined with cuban influence. singing style is similar to jaliya

Front 154

Youssou N'Dour

Back 154

a senegalese singer. drew on local stles and languages. now an international star. wealthy.

Front 155

Baaba Maal

Back 155

younger senegalese musician with international career