Music and Culture of West Africa
Like the continent, African musical culture is really as vast because the distinct musical traditions of their regions and nations.
Music and Culture of West Africa is really a multimedia investigation from the Straus Expedition-a 1934 field study in West Africa. Laura Boulton, a participant within the expedition, recorded and documented the background music of 21 ethnic groups with what was then French and British colonial West Africa. This CD-ROM is dependant on the materials she collected.
CD-ROM technology allows students to listen to sound recordings, see photographs, and examine film footage shot throughout the 1934 Straus Expedition. These materials give a first-hand glimpse of a period of time in West African musical background and of a field experience from an early on era of musical research. Contemporary media and research sheds light about the materials that Boulton collected, helping demonstrate the continuity of those forms of music. Discussions of fieldwork, instrument classifications, and also the role of ethnomusicologists in representing the folks they study can help users to comprehend the work of ethnomusicologists today.
Music and Culture of West Africa includes information about West African musical instruments and musical culture.
The interactive “Musical Principles” section allows users to listen to, observe, perform, and compose types of Hocket, Polyrhythm, Call and Response, Timbre, and Signaling.
Explore and find out the interconnections between music and culture by navigating by yourself journey through Music and Culture of West Africa: The Straus Expedition. Gloria J. Gibson is Associate Vice Chancellor at work of Multicultural Affairs and Associate Professor of Folklore and Ethnomusicology at Indiana University. She was Director from the Archives of Traditional Music from 1995 to 1999. Daniel B. Reed is Assistant Professor of Ethnomusicology in the University of New york at Greensboro called the 1995-1996 Laura Boulton Junior Fellow in the Archives of Traditional Music.The Learning and teaching Technologies Laboratory at Indiana University, Bloomington, assists faculty dealing with instructional technology. Its staff includes instructional consultants, courseware developers, and specialists in digital technologies.
West African Music
West African Harps
West Africa has produced an excellent diversity of harps, that are consistently uniform in a few respects. In the three- or four-stringed bolon that incites warriors to fight and to the six-stringed donso ngoni or seven-stringed simbi which offer music to safeguard and impassion hunters, towards the twenty-one-stringed kora that symbolizes the royal synthesis of indigenous and Islamic cultures, all calabash spike harps really are a major feature of traditional as well as modern music in West Africa. The pentatonic sound from the donso ngoni is similar to African American blues tonality, and it is use in modern electric ensembles in Mali creates some of the most fascinating popular music in Africa. Wooden-box-resonator spike harps from the forest regions farther south don’t enjoy the widespread distribution nor the documentation of the northern relatives and could be in a situation of decline.
The peculiarity of West African harp construction has until quite recently prevented scholars from understanding that these instruments are harps and never a hybrid type of harp lute. By articulating the distribution of those harps, as well as their morphological features, I really hope to have laid the groundwork for future comparative studies that might investigate with increasing sophistication the diffusion of musical instruments.
West African playing guitar
Mande guitarists are active players within an unbroken and still-vibrant tradition that dates back to the thirteenth-century founding from the Mande, or Mali, empire. That tradition is primarily guarded by jelis, hereditary professional verbal/musical artisans. The electric guitar was first acquired in the 1920s or 1930s by jelis who began an Africanization process by adapting their balafon (xylophone), nkoni (lute), and kora (harp) repertories and playing styles into it. The rise of contemporary Mande music as well as the electric guitar began using the independence of Guinea in 1958 once the new government launched a sweeping modernization policy by which European musical instruments (including various guitars) were passed out, musicians were made civil servants, along with a network of regional and national orchestras was established. Mali quickly followed suit. Jelis used the electrical guitar because the main vehicle for transferring their local repertories to those new urban electric groups. The entire process of traditional musicians (jelis) embracing, Africanizing, and integrating your guitar into their music culture, after which using it to maneuver their music in to the international whole world of popular dance music may be the focus want to know.
A Guide to the Jembe
The jembe (spelled djembe in French writing) is about the verge of achieving world status like a percussion instrument, rivaled in popularity perhaps only through the conga and steel pan. It first made an effect outs ide West Africa within the 1950s because of the world around Les Ballets Africains led through the Guinean Fodeba Keita. In the many years succeeding this initial exposure the jembe was known internationally simply to a small coterie of musicians and devotees of African music and dance. Within the U.S. curiosity about the jembe centered ar ound Ladji Camara, an associate of Les Ballets Africains within the 1950s, who because the 1960s has trained an era of American players. Worldwide, only handful of LP recordings were released as much as the mid-1980s, most containing just a couple selections of jembe playing.
Because the late 1980s international curiosity about the jembe has t aken an unprecedented turn. More than a dozen CD recordings exclusively featuring jembe ensembles happen to be released along with as many recordings featuring the jembe in mixed ensembles. Around national ballet troupes from Guinea, Mali, and Senegal, and former drummers from all of these troupes are playing to swelling crowds. Jembe teachers are proliferating, with a few of them leading study tours to Africa, and major drum manufacturers recently found a market for industrially produced jembes.