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Historical and background of african music
Historical and background of african music
Historical and background of african music
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African Tribal Music
In our Western culture, we have always been entertained and pleased by the sound of music. Whether listening to the radio or going to a live concert, the music itself is usually considered a form of art or past time for the listener and the performer. While some can connect, relate to, or even "feel" the power of the music, not many westerners can comprehend "living" the music. In African tribal culture, the people have done just that since ancient times. They have spent each day using the music along with their work, daily routines, ceremonies, rituals, and gatherings. To them, the sound that is produced from their instruments and voice is more than a product of creativity of a group of musicians, it is a gift from the Gods which has high symbolic meaning and serves a purpose. In our modern, hi-tech, wireless society, the significance of music is something we have long forgotten, or may have never understood at all, and is certainly something that is taken for granted. As this essay will show you, the connection with and use of music by the African tribal people, in comparison to its purpose in Western culture, has much more valuable spiritual significance.
Let us start with a general overview of the whole original tribal aspect of African music. The word "tribal" "refers to the language spoken, sometimes to political entities, and sometimes to other kinds of groupings of the African people and their boundaries" (Britannica Online). The general idea of a tribe is an attempt to impose identity from the outside, so in a sense, "tribe" could mean "ethnic identity". So basically, a tribe can be a small group of people who live and travel together and have certain customs and rituals unlike any other gr...
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...to have music benefit us spiritually, but to me, I stand by the belief that we should acknowledge it as more than art, but as a gift that can inspire, motivate, move, or even heal us as a people.
Bibliography:
Britannica Online. Search for "ethnomusicology - Africa" or "African music". Internet: britannicaonline.com, accessed November 19th, 2000
Amoaku, W. Komla "Toward a Definition of Traditional African Music: A Look at the Ewe of Ghana." In Irene Jackson, ed., More than Drumming, 31-40. Westport, Conn.: Greenwood Press.
Koetting, James "Africa/Ghana." In Worlds of Music. 2nd ed. New York: Schirmer Books. 1992
Stone, Ruth M. African Music in a Constellation of Arts. "The Garland Handbook of African Music." (Journal) 7-12 p. 2000.
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Mazrui, Ali A. "The Re-Invention of Africa: Edward Said, V. Y. Mudimbe, and Beyond." Research in African Literatures 36, no. 3 (Autumn 2005): 68-82.
In the display of Gullah song lyrics, Turner notes that the words were accompanied by handclapping, drumming, and dancing (256). While in Ghana I visited Nana Abass’ shrine of African traditional worship, where I was able to engage in spiritual service. The key component of the service was the dancing, singing, handclapping, and drumming. These methods were used to call in the presence of the spirits. Thus, one can assume that the combination of such elements in Gullah song is a spiritual
Woods, K (2008), ‘The Art of the Benin: Changing Relations between Europe and Africa I: The Art of the Benin’, in Brown, R (ed.), Cultural Encounters (AA100 Book3), Milton Keynes, The Open University, pp.4-16
Loftus, D. and Wood, P. (2008), 'The Art of Benin: Changing Relations Between Europe and Africa II' in Brown, R. D. (ed.) Cultural Encounters (AA100 Book 3), Milton Keynes, The Open University, pp. 43-87.
Reggae and Zydeco, as well as many other musical genres have ties that go as far as Africa.
African American religious music is the foundation of all contemporary forms of so called “black music.” African American religious music has been a fundamental part of the black experience in this country. This common staple of the African American experience can be traced back to the cruel system of slavery. It then evolved into what we refer to today as gospel music. The goal of this paper is to answer three main questions. What are the origins of African American religious music? How did this musical expression develop into a secular form of music? What is the future of African American religious music? These questions will be answered through factual research of African American traditions, artists, and various other sources.
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
Monson, I. (2010).Freedom sounds : civil rights call out to jazz and Africa. New York Oxford: Oxford University Press.
In sub-Saharan Africa, thousands of languages, cultures, and geographical regions helped influence our African society. The ways in which we produce our artwork, spiritual ideals, and ritual performances are organic and raw. From the tropical regions of Congo and Ghana, to the arid regions of Mali; I pass through the global gateway into a domain where the Western world lost its roots and artistic imagination and grandeur. Africa appeals most to me for its ability to create a realm where the living, dead, and artistic ideals come into a single unit of tranquil philosophy.
Music played a very important role in the lives of people is diaspora communities. It served as a reminder for the immigrants of their homeland, which allowed them to proudly express their national and cultural identities. Diaspora refers to an international network of communities linked together by the identification of a common ancestral homeland and culture. People in these communities are no longer living in their homelands, with no guarantee of a return either. (Bakan, 19). Music played a large role in African diaspora communities. This was first started by the slave trades many years ago when slave traders traveled to the coast of West Africa to capture Africans and brought them back to the United States to be slaves on plantations. Slaves were more prone to loose a sense of their own culture because every new aspect of their lives was forced upon them, therefore they were undoubtedly forced to abandon their n...
Small, Christopher. Music of the Common Tongue: Survival and Celebration in African American Music. Hanover, NH: U of New England, 1998. Print
West African music was the music of the African people before the Europeans captured and sold them into slavery in the Americas. It was unique in the manner in which it was played as well as the reasons why it was played. West African music was documented around the 1600's when explorers wrote journals about what they had found while traveling.
Juju music emerged in the 1920's and is the most well-known form of Yoruba popular contemporary music in Nigeria. Juju has its roots in traditional Yoruba drum based music. Juju is dance music played by large ensembles centered on guitars and drumming. Singing is a major part of Juju music and is inspired by Yoruba poetry, proverbs, praise songs, and the musical character of the language. The culture and music remained the same for decades after colonization and its explorers left Nigeria. The negative legacies...