Mahmoud Farhat Dr. Vera H. Flaig MHIS 130 – 002 1 December 2014 Journal Entry 2 – Chapter Ten It is in no way arguable that the term polyvocality was used in Chapter Ten in both intriguing and compelling ways. To begin, the term polyvocality is a derivation of the word polyphony, which can best be explained as a musical element of “many sounds or parts.” Therefore the term polyvocality itself can best be defined as an element of “many voices.” Polyvocality is applied in this chapter because this is a beacon through which West Africans converse with one another in both social and conversational interaction, especially during the making of music. Expression in West African communities take a festive, contagious interaction through the musical …show more content…
These musical Africanisms also apply to various musical examples explored in the chapter. The first of the six musical Africanisms explored in Chapter Ten was “complex polyphonic textures.” Complex polyphonic textures are layered textures of instruments and/or voices, which are often implored in sub-Saharan African music. For example, the Fontomfrom music (along with all pieces of music from this chapter) displays the layering and textures, which are characteristic of this Africanism. The second of the musical Africanisms explored in Chapter Ten is “Layered ostinatos with varied repetition.” Layered ostinatos with varied repetition are the layering of numerous patterns also known as ostinatos, which recur, in creating polyphony. Fontomfrom is also a good example of layered ostinatos with varied repetition because the layered ostinato patterns that occurs in the song show up in different, varied forms and not the same. The third of the six musical Africanisms listed in the chapter is “Conversational Element.” To begin, it is important to remember that the nature of Sub-Saharan African Music is generally conversational in nature. This music typically takes on a “Call-and-response” layout in which many people can be speaking at the same time in response to others, which can be observed in the Fontomfrom piece. Also, music and dance in West African music have become synonymous with conversation. “Improvisation,” the fourth of the six Africanisms discussed in Chapter Ten is highly characteristic of Sub-Saharan African music because it is something that has been passed down each generation and became a musical feature that a listener would expect to hear. The lead drumming in Fontomfrom contains improvisation. “Timbral Variety,” the fifth of six Africanisms occurs when musicians try to reach a variety of timbral ranges. Singers attempt to influence their voices and instruments to achieve a variety of
1. Wide-ranging, dynamically expressive tonal melodies are played in equal temperament and generated from logical tonal harmonic progressions. 2. A simple, isometric, and restricted rhythmic range is used. 3. The texture is homophonic, that is, a principal melody line with accompaniment. 4. Clear periodic formal structure is favored. 5. The instrumentarium is restricted and standardized.
Music is an excellent way to bring people of all shapes and sizes together through a common interest. Works Cited H. W. Wilson Company, Inc. Franklin, Aretha. 2014. The 'Secondary' of the 'Secondary' of the 'Secondary' of the 'Secondary' of the Info.
Rai, one of the prominent music genres that proofed that music is not only a set of melodies, rhymes and words set together and sang in an entertaining context, but also, and more importantly, a tool, a message and a cultural representative that affects and is affected by history. Rai, a traditional Algerian music genre which has originated from the city of Oran, then emerged toward a global , remains a controversial musical genre until today. Throughout the paper, we will trace the origins of Rai and its traditions until it reached to a global popularity. We’ll discuss the factors that contributed to the success and survival of this genre and the global linguistic approaches used by its composers and performers.
“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.
Dudley investigates this topic by analyzing the interactive rhythmic feel of calypso by contrasting African and western concepts and practices. Conclusion Shannon Dudley concluded that western musical concepts do not acknowledge the importance of rhythmic feel in African and African American music. Analyzing calypso demonstrates her topic of rhythmic feel is important in distinguishing African and African American genres from one another.
"Music is a common experience and a large part of societies. In fact, anthropologists note that all human communities at all times and in all places, have engaged in musical behaviours. Music as a mode of human activity is a cultural phenomenon constituting a fundamental social entity as humans create music and create their relationship to music. As cultural phenomeno...
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...
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.
New Languages in Music; The Cumulative Enterprise of Scienceî Chronicle of Higher Education. 16, Jan. 1998. p. B7.
Mhlambi, Thokozani. "Kwaitofabulous: The Study of a South African Urban Genre." Journal of the Musical Arts in Africa, 2004. Web. 31 Mar. 2014.
Congolese guitarist, singer, bandleader and composer Francois Luambo Makiadi (Franco) “the sorcerer of the guitar” was 20th century Africa’s most important musician; he was the greatest. My opinion is amply supported by the recent release of two double CD retrospectives Francophonic Volume 1(1953-1979) & 2 (1980-1989). The sets demonstrate Franco’s amazing longevity, prolificacy, and innovation. From 1950 until his death in 1989, he record over a thousand songs, created a dominate style of African guitar playing, trained generations of musicians, and attained a status equivalent in Africa to Elvis or the Beatles in the West. These collections allow the listener to discover not only the evolution of a musical genius, but also the history of one of the world’s great dance traditions, Congolese rumba.
Every West African village had its own professional musicians and singers who would perform for the community. Musicians were idolized in their villages. They normally sat with the king or chief because of their elevated status.
The missing and fusing of cultures has made a great impact on the music culture itself. One example of this is the influence of African aesthetics, for instance African dress while performing. Enculturation is a key factor in the development of a multitude of music genres, and the importation of key features has changed the Latin American
Standing in direct contrast to the desire for a unified Africa is portrayal of immediate community by the music of dancehall. It is claimed that hopes for a unified Africa no longer remains a theme for inspiration among the current dancehall artists. Chude-Sokei argues, "With raggamuffin sound, which currently dominates the ideologies of Afro-Caribbean youth and black Third World pop/ghetto culture, one is challenged to find references to the mythic signifier of black identity that is Africa.
Music has played a role in society since the dawn of man. Said to be the beginning of communication in early civilization, music and dance have influenced how we think, act and treat members of our own society. Song and dance is used in rites of passage ceremonies such as births, weddings and funerals throughout the world. Jamaican and Yoruba cultures have made many contributions to our society. The uses of this music as a vehicle for political issues, values, and beliefs have been used by many musicians from different cultures. I intend to discuss the Contribution of these two contemporary cultures music and their effect on society.