Chapter Study Guide

CHAPTER 10—MUSICAL CONVERSATIONS:
Communication and collective expression in
West African music
Section
0:08
Comments/Observations
Atumpan and Eguankoba enter
0:27
Drum rhythms become more clearly synchronized
0:33—0:47
Instruments and Basic Rhythm Patterns
Gongon = metal bell (such as cowbell, gankogui, etc.)
From = low-pitched drum
Atumpan= medium-pitched drum
Eguankoba = high-pitched drum
0:48—1:02
1:03—1:32
1:33—end
Musical Africanisms
Akan Fontomfrom music, Eyisam Mbensuon, CD ex. # 2-22
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
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
0:02
Gongon entry
Timbral variety
Musical Africanism
Distinctive pitch systems
and scales
“Atlanta Kaira,” Toumani Diabete, Taj Mahal, and Ensemble, CD
ex. # 2-25
Description/Explanation
Listen to CD ex. # 2-25, then use the following chart to record
comments and observations.
Section
Comments/Observations
Solo kora
introduction
0:00—0:42
“Dounuya,” Seckou Keita, CD ex. # 2-24
Dounuya serves as an introduction to the kora and to traditional jeliya
musical style. This selection features a text that operates at several
levels simultaneously, as well as a layered ostinato-based style of kora
playing.
Ensemble
introduction to
“Kaira” song
0:42—0:52
“Kaira” song
0:53—1:28
Listen to CD ex. # 2-24, then use the following chart to record
observations.
Section
0:00—0:09
Comments/Observations
0:10—0:24
Sataro # 1
1:29—2:50
0:25—0:29
Koni solo
2:51—3:32
0:30—1:08
1:09—1:40
Sataro # 2
3:33-4:21
1:41—2:14
Return of “Kairo”
song
4:22—end
2:15—2:56
2:57—end
IM—10/2
Western African Collective Expression in a Global Musical
World
Additional Resources
“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
supplement the content of this chapter.
“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
observations. Focus on the features of musical dialogue and the style of
Mamadou’s kora playing.
Section
Comments/Observations
Introduction
0:00—0:35
Visit www.smithsonianglobalsound.org and explore other audio
and video examples from the cultures and styles discussed in this
chapter.
Visit http://internationalmuzic.net and explore other audio and
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
www.coraconnection.com/pages/toumani.html
First Chorus
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
Part 1: Information
Key terms
Akan
Key terms
Africanisms
(musical)
Definitions or explanations or comments
Jeli
Drum speech
Hereditary jeli
families (Kouyate,
Diabate, Sissoko)
Praise songs (in
jeliya)
Tonal language
(e.g., Twi)
Atumpan
Bala
Polyvocality (in
West African
music)
Kora
Koni
Kumbengo
Mande
Birimintingo
Jeliya
Sataro
Griot
Sauta
African diaspora
Fon
Fontomfrom
IM—10/4
Definitions or explanations or comments
9 Hanzvadzi
Thomas Mapfumo
Zimbabwe
Mapfumo was the first person in Zimbabwe to compose an original
song in the traditional style. Before him, songs were always based
upon tunes passed down for generations. He often wrote of the
struggle against the white minority gov’t. Eventually he was charge
with subversion (in 1977) and sent to prison camp. To obtain his
release, Mapfumo agreed to perform a benefit concert for the ruling
party; at that concert, he sang only his most revolutionary songs.
This song is traditional – it mixes mbira rhythms and soukous style
guitar playing; it is a story of a woman who is unhappily married to a
boastful and unfaithful husband.
Supplemental Listening Examples
1 Obanu
Obo Addy and Okropong
Ghana
Royal ceremonial music that, until recently, was not played outside
the royal house. The layered patterns tell stories to those who
understand the language.
2 Nabaya
Foday Musa Suso
Senegal
This song is about a boy flirting with a beautiful girl, but she puts
him down saying, “What?! So you think my beads are for everyone?
Foolish man! I have saved them for only one boy.” The boy replies,
“What a shame! Your beads are very powerful - so many of us have
been bewitched by them!”
3 Soutoukou
Mamadou Diabate
This is another example of the music of the griot.
10 Ole Mpirai/Lion Hunting Song
Maasai culture
Use of rhythmic breathing patterns and polyphonic throat singing.
Trad. hunting song.
Mali
4 Joejoe Yalal Joe
S. E. Rogie
Sierra Leone
Palm wine music – an expression of people’s daily experiences.
“With his mellow guitar and smiling vocals, S. E. Rogie is known as
the king of palm wine music.
11 Kothbiro
Ayub Ogada
Kenya
Has collaborated with Peter Gabriel; worked in projects that tried to
reconcile the 45 different cultures and languages of Kenya. This
song features Ogada’s tenor voice and the playing of his nyatiti. It is
about cattle-herding, “Dear children, the rain is coming, bring in the
cattle, bring in our wealth.”
5 Esonta
Chief Inyang Henshaw
Nigeria
Highlife music – blends African aesthetics with American big band
and marching band music. Its peak popularity was in the 1950s and
60s. Lyrics are the most important aspect of this style.
12 Munomuno
Samite
Uganda
Instruments – mbira, flutes, drums and guitar; rhythm – bakisimba
(trad. Baganda rhythm); Song is about an arrogant young man who
began to grow hair on his chest. He went to his grandfather’s house
and challenged the spirits in that house to come and have a
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
very long time.” When he heard those loud voices, he got scared
and went out and shaved off all his chest hair. He wanted to be
young again and not fight the spirits. The moral of the story is that it
takes more than a little hair on the chest to make a man.
6 Essengo Ya Ngai Wendo Na Moundanda
Wendo Kolosoy and the VictoriaBakolo Miziki Orchestra
Congo
Features the mbira and combines popular Ngoma music and trad.
Congolese styles
7 Hello Hello
Mose Fan Fan
Congo
Dance music known as soukouss – influenced by Latin American
music
8 La Milonga de Ricardo en cha-cha-chá
Ricardo Lemvo & Makina Loca
Congo
A medley blending two classic Cuban tunes with a Zairean classic.
Cuban influence on African musicians started in the late ‘50s. Lemvo
moved to LA, where he sang in Cuban bands. Eventually, he began
to fuse soukous and Cuban music.
13 Hoya Hoye
Seleshe Demassae
Trad. children’s song. Children go from house to house singing the
song and they are given small pieces of bread or coins. As they sing,
they crack a whip on the ground.
IM—10/5
14 Sangoma
Bakithi Kumalo
South Africa
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?
Traditional African Instruments
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.
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Study Guide: Video - “Atumpan: The Talking
Drums of Ghana”
9. What material is used for the drum head of the drum and how
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. What does the eye of each drum face?
IM—10/7
African Rhythm Patterns
IM—10/8
African Songs
IM—10/9
Name: _________________________________________
Of the musical
examples in this
chapter, which did I
enjoy the least?
Why?
Chapter 10 Journal
Part 2: Reflections
What, in this
chapter, was new
to me?
Other thoughts or
comments about
Chapter 10
What, in this
chapter, would I
like to know more
about?
Of the musical
examples in this
chapter, which did I
enjoy the most?
Why?
IM—10/10