Music of Africa - Wikipedia. The traditional music of Africa, given the vastness of the continent, is historically ancient, rich and diverse, with different regions and nations of Africa having many distinct musical traditions. Music in Africa is very important when it comes to religion. Songs and music are used in rituals and religious ceremonies, to pass down stories from generation too generation, as well as to sing and dance to. Traditional music in most of the continent is passed down orally (or aurally) and is not written.
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In Sub- Saharan African music traditions, it frequently relies on percussion instruments of every variety, including xylophones, djembes, drums, and tone- producing instruments such as the mbira or . Latin American music genres such as the rumba, conga, bomba, cumbia and samba were also founded on the music of enslaved Africans, and have in turn influenced African popular music. Eventually, Egypt fell under Persian rule followed by Greek and Roman rule, while Carthage was later ruled by Romans and Vandals. North Africa was later conquered by the Arabs, who established the region as the Maghreb of the Arab world. Like the musical genres of the Nile Valley and the Horn of Africa(sky- blue and dark green region on map). The region's art music has for centuries followed the outline of Arabic and Andalusian classical music: its popular contemporary genres include the Algerian. Ra. Somali music is typically pentatonic, using five pitches per octave in contrast to a heptatonic (seven note) scale such as the major scale.
Ladzekpo affirms the . Performances may be long and often involve the participation of the audience.
None of this is performed outside its intended social context and much of it is associated with a particular dance. Some of it, performed by professional musicians, is sacral music or ceremonial and courtly music performed at royal courts. Musicologically, Sub- Saharan Africa may be divided into four regions. Many of these have been influenced by Arabic music and also by the music of India, Indonesia and Polynesia, though the region's indigenous musical traditions are primarily in the mainstream of the sub- Saharan Niger–Congo- speaking peoples. The southern region (brown region on map) includes the music of South Africa, Lesotho, Swaziland, Botswana, Namibia and Angola. The central region (dark blue region on map) includes the music of Chad, the Central African Republic, the Democratic Republic of the Congo and Zambia, including Pygmy music.
West African music(yellow region on map) includes the music of Senegal and the Gambia, of Guinea and Guinea- Bissau, Sierra Leone and Liberia, of the inland plains of Mali, Niger and Burkina Faso, the coastal nations of Cote d'Ivoire, Ghana, Togo, Benin, Nigeria, Cameroon, Gabon and the Republic of the Congo as well as islands such as Sao Tome and Principe. Southern, Central and West Africa are similarly in the broad Sub- Saharan musical tradition, but draw their ancillary influences primarily from Western Europe and North America.
Musical instruments. African musical instruments include a wide range of drums, slit gongs, rattles and double bells, different types of harps, and harp- like instruments such as the Kora and the ngoni, as well as fiddles, many kinds of xylophone and lamellophone such as the mbira, and different types of wind instrument like flutes and trumpets. Additionally, string instruments are also used, with the lute- like oud and Ngoni serving as musical accompaniment in some areas. There are five groups of sub- Saharan African musical instruments: membranophones, chordophones, aerophones, idiophones, and percussion. Membranophones are the drums, including kettles, clay pots, and barrels.
Chordophones are stringed instruments like harps and fiddles. Aerophones are another name for wind instruments. These can include flutes and trumpets, similar to the instruments you hear in American music.
Idiophones are rattles and shakers, while percussion can be sounds like foot- stomping and hand- clapping. Some are decorated with feathers or beads. Other percussion instruments include many rattles and shakers, such as the kosika (kashaka), rain stick, bells and wood sticks.
Also, Africa has lots of other types of drums, and lots of flutes, and lots of stringed and wind instruments. The playing of polyrhythms is one of the most universal characteristics of Sub- Sarahan music, in contrast to polyphony in Western music. Several uniquely designed instruments have evolved there over time to facilitate the playing of simultaneous contrasting rhythms. The mbira, kalimba, Kora, Ngoni and dousn'gouni are examples of these instruments which organize notes not in the usual single linear order from bass to treble, but in two separated rank arrays which allows additional ease in playing cross rhythms. The continuing influence of this principle can be seen in the 2.
American instruments the gravi- kora and gravikord which are new modern examples. Relationship to language. These particular communities use vocal sounds and movements with their music as well. In singing, the tonal pattern or the text puts some constraints on the melodic patterns. On the other hand, in instrumental music a native speaker of a language can often perceive a text or texts in the music. This effect also forms the basis of drum languages (talking drums). The music has been influenced by language, the environment, a variety of cultures, politics, and population movement, all of which are intermingled.
Each African tribe evolved in a different area of the continent, which means that they ate different foods, faced different weather conditions, and came in contact with different tribes than other societies did. Each tribe moved at different rates and to different places than others, and thus each was influenced by different people and circumstances. Furthermore, each society did not necessarily operate under the same government, which also significantly influenced their music styles.
The musical traditions of the Irish and Scottish settlers merged with African- American musical elements to become old- time and bluegrass, among other genres. African music has been a major factor in the shaping of what we know today as Dixieland, the blues and jazz.
These styles have all borrowed from African rhythms and sounds, brought over the Atlantic Ocean by slaves. African music in Sub- Saharan Africa is mostly upbeat polyrhythmic and joyful, whereas the blues should be viewed as an aesthetic development resulting from the conditions of slavery in the new world.
On his album Graceland, the American folk musician Paul Simon employs African bands, rhythms and melodies as a musical backdrop for his own lyrics; especially Ladysmith Black Mambazo. In the early 1. 97. Remi Kabaka, an Afro- rock avant- garde drummer, laid the initial drum patterns that created the Afro- rock sounds in bands such as Ginger Baker's Airforce, The Rolling Stones, and Steve Winwood's Traffic. He continued to work with Winwood, Paul Mc. Cartney, and Mick Jagger throughout the decade. Songs such as . Additionally, the Disney classic incorporates numerous words from the Bantu.
Swahili language. The phrase hakuna matata, for example, is an actual Swahili phrase that does in fact mean . Characters such as Simba, Kovu, and Zira are also Swahili words, meaning .
Non- commercial African American radio stations promoted African music as part of their cultural and political missions in the 1. African music also found eager audiences at Historically Black colleges and universities (HBCUs) and appealed particularly to activists in the civil rights and Black Power movements. Most contemporary genres of African popular music build on cross- pollination with western popular music. Many genres of popular music, including blues, jazz and rumba, derive to varying degrees from musical traditions from Africa, taken to the Americas by enslaved Africans. These rhythms and sounds have subsequently been adapted by newer genres like rock and rhythm and blues. Similarly, African popular music has adopted elements, particularly the musical instruments and recording studio techniques of western music.
One of the most important 2. South African popular music was Miriam Makeba, who played a key- role, in the 6. African music and its meaning. Zenzile Miriam Makeba was said to have been one of the most influential and popular musicians of Africa, beginning in the 1.
She was a part of three bands, including one all- woman band and two others. She performed all types of jazz music, traditional African music, and music that was popular in western Africa at the time. Miriam played a majority of her music in the form of . She had a very diverse scale of her vocal range and could hit almost any note.
Some of the first guitar bands on the continent played covers of Cuban songs. The Congolese style eventually evolved into what became known as soukous. Music industry. Piracy and changing consumer behavior are behind declining sales of records.
Enforcement of copyright law remains weak in Africa. Musik. Bi is the first legal music download website of Africa. It does not offer streaming and is limited by internet speeds in Africa. In Zimbabwe 7. 5% of airtime has to be given to local music. Protective actions have seen the growth of new genres like Urban Grooves emerge in Zimbabwe. The local demand for their music being met through piracy. Columbia University.
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The New Grove Dictionary of Music and Musicians. London: Macmillan. Studies in African Music. London: Oxford University Press.
ISBN 0- 1. 9- 7. 13. Ladzekpo, C. Foundation Course in African Music.^GCSE Music – Edexcel Areas of Study, Coordination Group Publications, UK, 2. GCSE Music – Edexcel Areas of Study, Coordination Group Publications, UK, 2.