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Categories of traditional music in Africa before colonisation
4 forms of music in africa and their history
West african music culture
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Aissawa has been around for many centuries it originated in Morocco and slowly made its way to Arabia till this day both of these countries still use religious the same rituals and music. Aissawa is generally used for better health or a better future. It is mostly played during certain holidays, birthdays and when a baby is being born. The type of beat to the song is very upbeat and positive and consists of a dance that is usually used for all the Aissawa songs. As for Africa the songs there are a little different for they don’t use words they make noises in their music. South Africa today, Aissawa music has more of a western beat and is generally used for both entertainment and religious events. While in Arabia the genre there is only used for religion and brotherhood. The Aissawa also known as Aissawa, Issawa, Aissaoua, Issaoua is a religious and unique brotherhood genre that was founded by Sidid Ben Aissa in the 15th century in Meknes, morocco. He is also known as the Shaykh Al-Kamil, or the Perfect Sufi Master. The terms Issawa, Aissaoua, Issaoua and Aissawa derive from founder Sidid Ben Aissa who also created brotherhood into the religion. They are known for their spiritual music, which generally comprises songs of religious psalms which can …show more content…
The mizmar’s double reed is made from a plant in the desert and Bedouins called hagna. The body of the mizmar is made from a wooden pipe called Iaseq. A smaller percussion that is used by a stick to play the drums another instrument being used is what a tambourine and a very large percussion that is strapped to the body. Sometimes the medium sized percussions will consist of the tambourines attached to the sides of the instruments so when being used it will make two sounds at once one being the drum and the other being the tambourine part. The other two percussions being used are flat and are being use by the hand to produce
Some scholars theorize that the Middle Passage to the Americas was so traumatic that most African influence was eradicated, and that few traces of Africa exist in African-American music. This “cultural tabulala [sic] rasa” theory is rightfully rejected by many scholars (Wilson 3). The inflow of African people to the New World was brought on by the existence of slavery, and resulted in the creation of a sort of extension of the African continent in a different hemisphere. In his article “The Significance of the Relationship Between [sic] Afro-American Music and West African Music,” music scholar Olly Wilson refutes the tabula rasa theory, and provides extensive examples of the ties that continue to exist between the two distant geographical regions. Another prominent scholar who recognizes the integration of African elements in American musics is Henry Louis Gates, Jr. Though his much deeper and more analytical approach to African musics is divergent from Wilson’s, both scholars acknowledge African diaspora musics and examine them in different ways based on different criteria.
Percussion instruments are by far the most dominant of the four major instrument families. There are many different types of cymbals and drums, which are ...
Brief History From the 1500s to the 1700s, African blacks, mainly from the area of West Africa (today's Senegal, Guinea, Sierra Leone, Gambia, Liberia, Ivory Coast, Ghana, Dahomey, Togo, Nigeria, Cameroon, and Gabon) were shipped as slaves to North America, Brazil, and the West Indies. For them, local and tribal differences, and even varying cultural backgrounds, soon melded into one common concern: the suffering they all endured. Music, songs, and dances as well as traditional food, helped not only to uplift them but also quite unintentionally added immeasurably to the culture around them. In the approximately 300 years that blacks have made their homes in North America, the West Indies, and Brazil, their highly honed art of the cuisine so treasured and carefully transmitted to their daughters has become part of the great culinary classics of these lands. But seldom are the African blacks given that recognition.
In the article of “Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects”, the author, Michael Baxandall mainly discussed interrelationship within the group of three agents upon their influence and reflect of the artifacts in the museum, and the understanding of culture elements behind the display. In the first part of this paper, I will identify the points of view of the author. In the second part, I will analyze the layout of the gallery, “Imagining the Underground” in Earth Matters in Fowler Museum in UCLA. Several discussion related to the settings of the museum and the article will be discussed interactively. In general, this paper tries to show the robustness and the weakness of Baxandall’s model, which will specified.
Beck, John. Encyclopedia of Percussion. 2nd ed. New York: Taylor and Francis Group, LLC, 2007. Accessed May 15, 2014. http://books.google.com/books?id=8U83AgAAQBAJ&printsec=frontcover#v=onepage&q&f=false.
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.
Collins, John. “African Popular Music: A Historical review of Sub-Saharan Africa”. African Art, Traditional and Popular Music.com. 2002. Web. 06 May, 2014. http://aatpm.com/AfricanPopularMusicCollins.htm
During the course of this semester, the several musical styles that have been discussed and analyzed have displayed various similarities and differences. These differences in certain musical elements have accounted for the distinctiveness and uniqueness of each style of music. The culture behind these countries’ music adds even more to their individualism. Cultural aspects such as religion play a huge role in the music of each country as well. Styles of music in Africa might be more upbeat than certain styles in India, for example. Some cultures use music in religion, while others may not. Aspects such as dance are important factors in all three types of music. Despite the differences and similarities, however, without music, these cultures would perhaps not be as fascinating and unique as they are now.
The Negro spirituals were permitted because to slave owners it seemed as though the slaves were beginning to convert to Christianity.
Southern Musical Tradition and the African Tradition The second major tributary of the southern musical tradition comes from the African continent and is the heritage import of the five million slaves brought to North America against their will to provide the bulk of the labor in the pre-industrial agrarian south. Contemporary blues, while not exclusively black music by any means, remains largely black in terms of its leading performers and, to a lesser extent, its listening audience.
These pieces of evidence together conclude that African music has influenced modern music for ages. Since African music is the root of American music, they also have many similarities to one another. From the lively tunes to slow jazz tunes, modern American music has been heavily based off of traditional African music. As more and more people may realize that the roots of African music are in genres such as pop, rock, jazz, and Dixieland, they may change their view of Africa and the inhabitants who live there. Those people may also gain awareness of Africa and may become interested. Even though it may be hard to believe that African music is in modern music, but it exists in our music.
Music is “The art of arranging sounds in time so as to produce a continuous, unified, and evocative composition, as through melody, harmony, rhythm, and timbre” ( Farlex, Inc 2013). Caribbean music has its own unique history, is very diverse with each island having its own unique genre of music. With so many different types of music out there and different performing artists these artists are looking for ways to make money by becoming popular.
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...
Dance was also a big part in the music of West Africa. Dance was performed at ceremonies surrounding fertility, death, worship, adulthood, and other kind of certain concerns of the village.
In the slippery terrain created by globalization and cultural brokering, contemporary art made in Africa (and its diasporas) has enjoyed a steady growth in interest and appreciation by Western audiences during the last few decades (Kasfir, 2007). Several biennials, triennials, and scholarly works attest to that, with much of its impact owed to the figure of Okwui Enwezor. However, seamlessly uniting diverse African artists under the untrained Western gaze for the commercialism of the international art circuit – notwithstanding their different cultural contexts and the medium in which they work – is bound to create problems. Enwezor’s and other authors’ sophisticated publications and curatorial works show both the vitality and issues still to be addressed in this field of study (Ogbechie, 2010).