Music 203 Test 3 Africa Review

Front 1

Gankogui

Back 1

double bell a bell, or gong instrument played with a wooden stick

Front 2

Atoke

Back 2

is a forged-iron bell instrument and is shaped somewhat like a boat or a banana.

Front 3

Axatse-

Back 3

rattle-like percussion instrument. The axatse is traditionally a dried gourd, wrapped in a beaded net

Front 4

Jembe/Djembe-

Back 4

gives signals to the dancers. a rope- tuned skin-covered goblet drum played with bare hands

Front 5

Kora-

Back 5

21-string bridge-harp gord with stick.

Front 6

Koni

Back 6

traditional stringed instrument similar to a banjo.

Front 7

Bala-

Back 7

wooden zylaphone with gords.

Front 8

Atsimevu-

Back 8

tallest long drum know where down beat is.

Front 9

Be able to describe some ways that musical instruments are anthropomorphized in West African cultures.

Back 9

(treat them like people)
build them little homes. May name them. Put them to rest for the night in home. Legends talk of them being given by Gods. Actions of instruments as part of their origin.

Sound produces reality. When an instruments sounds it is as effective at creating sound as a human voice.

Front 10

Ben/Kumben-

Back 10

to meet/agree/harmonize. refer to tuning/pattern/rhythm kumben- kun is head, kumbengo is accompaniment with cyclic rhythm or tonic with most important pitch
COLLABORATE

Front 11

Mande

Back 11

tribe empire spread along coast

Front 12

Ewe

Back 12

drum tradition language and people, on atlantic coast of africa and ghana

Front 13

Gahu

Back 13

16 beat- maybe war.

Front 14

Adowa

Back 14

9 beat-funeral music with funky bell pattern and syncopated bell rhythm ( don’t know where the down beat is)

Front 15

Agbekor

Back 15

call and response ensemble of percussion and chorus of singers 12 beat – related to war pattern. 3 groups of 4

Front 16

“Pourer” (

Back 16

keeprs of the history. They pull it out and find it again. fsound is a substance . also story teller thing but from the Kpelle, Liberia) tradition. they pour out the liquid, they make it real.

Front 17

“Griot”-

Back 17

storysinger/musician developed in american pop culture, scholarship began to focus on it, griot as rap

Front 18

Jeli

Back 18

storysinger, high honor in culture, musical line of family, guard traditions, only certain jeli can play certain instruments or songs. is a very long tradition observed by westerners for a long time. Hes the chief and here is his singer etc. at least 700 years old. Their oral history is very important to them. And us saying this is legit.

Front 19

Sunjata Keita-

Back 19

Founded mande empire, defeated sorcerer blacksmith sumanguru kante

Front 20

Nyamakala-

Back 20

makers, artisans, work with metal sound as material, manufacturers

Front 21

Horon

Back 21

Providers, freeborn nobility, landowners

Front 22

Know the historical associations of Mande musical instruments and practices with certain historical trends and trades (hunters, blacksmiths, horsemen, etc.)

Back 22

with rise of iron blacksmiths became popular, warrior class emerges with praise singers to follow them around

music was originally associated with hunting, then later on with blacksmithing (with iron) its like drumming. Horses changed rhythm and collaborating. It literally came out of their practice. Makes the rhythm.

Front 23

Be able to give a brief historical summary of the jeli in Mande culture, including its origins as passed through its own oral traditions as well as its history as gathered through written historical accounts.

Back 23

Story singer
Subjetaqueta. his story singer can trace their heritage back to him. The singers are related to each other, their sons, their sons. All can pull their geneology back to the one guy. 1500s westerners, this one guy who was THE story singer.

Front 24

Be able to briefly describe the current practices and historical heritages of at least two current or recent jeli.

Back 24

History of hip hop , African americans those are our people lets continue that tradition

Front 25

• Jeli Toumani Diabate

Back 25

o Modernized, recording studio, continues the legacy of the diabate lineage, kora player

Front 26

• Jeli Soriba Kouyate

Back 26

o kora player, incorporated melodic lines and chord progressions into traditional african style

Front 27

Be prepared to describe a few examples of how the concept of ben/kumben is applied to various musical contexts.

Back 27

Ben- idea of collaboration
• Examples. Post office using every day manual labor every day thing. Makes song.
• *2 more examples find from text.
Kumben-
• Supports voice, (accompaniment)
• Kumbengo0 supports every part of the song,
• Can mean rhythm, tuning,
those are the meanings. examples
ALPHABET
POST OFFICE
BLACKSMITH
HUNTING

Front 28

Know the origins (mythical and historical) and contexts (past and current) of agbekor drum and dance traditions of the Ewe.

Back 28

• mythical origin- drummed to intimidate enemies and escape/dance of monkies spiritual hunters
• gods giving them to animals animals giving them to humans. (
• legends talk about being givin by gods. Actions of instruments as part of their origins in connection with animals and gods etc.
• 
Historical origin- originated as war dance

Front 29

Know some of the basic features and backgrounds of the three drumming patterns we played in class: what are the 3?

Back 29

Gahu, Agbekor, and Adowa

Front 30

• gahu

Back 30

16 beat- maybe war.

Front 31

• agbekor

Back 31

12 beat – related to war pattern. 3 groups of 4

Front 32

• Adowa

Back 32

9 beat-funeral music with funky bell pattern and syncopated bell rhythm ( don’t know where the down beat is)

Front 33

Know the basic biographical outline of Babatunde Olatunji, including where he came from, how he ended up in America, and two or three of his most important accomplishments as a musician and cultural ambassador.

Back 33

He wasn’t good in his county, but was the “best” in America.
He wasn’t related to anyone or have it in his blood.
Draws on the jeli tradition without being one.
• from Nigeria, born into politics, came to US to study, accomplished 3 things: lands record contract with colombia records, opens center for african culture, appeared with grateful dead, sold tons of albums
• drums of passion released, first big world music thing.
• Taught jemetitawa people.

Front 34

Be able to describe Olatunji’s Drums of Passion project, including the traditional West African and Yoruban elements it drew from and the ways in which it adapted, altered, or abandoned traditional practices in order to appeal to a commercial audience.

Back 34

The first world music thing. Columbia records. Workshops, he taught it to a lot of people.
Its recorded, its out of context, not for war or funeral, decontextualized. He is the only African.
Africa and africanness. How can we just make this sound foreign and exotic rather than straight forth euroba.

• ALL Musicians besides him were African American, he was african.
• Changed consciousness of many americans.
• LP format-
o African based composed in an American format ( introduction, sections in the middle)

Front 35

Be able to describe the development of the “drum circle” movement in America, and be prepared to compare and contrast it with the West African practices which it purports to draw from. What kinds of questions does it raise about the practice of drumming, exoticism, communalism, “authenticity,” etc.?

Back 35

spotlighted in the grateful dead. Its no longer this African thing. Gimbe workshop seen in bali. AUSTIN TEXAS
communal thing comes together and collaborating. Kind of of like the element of the post office thing where they collaborated. Not particular patterns, its congo sounding is all.
• Drum circle is a huge jam session.
• Synthetic drums were made, which could have taken away the meaning of the authentic tree and animal skin brought to life by human playing it.
• Rose a concern of the Profound cultural meanings of their traditional rhythms and instruments
Not precise rhythm articulation was the goal.
Becoming communal.