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The Key Characteristics of West and Central African Music 4


Cross-rhythmWhen the rhythmic conflict found in polyrhythms is the basis of an entire musical piece. happens when rhythmic patterns in different meters (or time signatures) are layered on top of each other. The interweaving or crossing of such dissimilar rhythms obscures the main beat and clouds metric perception location. One resultant effect of cross-rhythm is a polyrhythmic texture that can comprise multiple metric images. Eugene Novotney observes: "The 3:2 relationship (and [its] permutations) is the foundation of most typical polyrhythmic textures found in West African musics."

The following example, in compoundMeter in which each beat is divisible by three rather than two. 6/8 meter features two against three:

Griot of Senegal

Griot of Senegal

(Jola People)

Cross-rhythm

Cross-rhythm

Polyrhythmic Texture In West African Music

Composer: Anonymous

  • "Polyrhythmic Texture In West African Music"

The video "African Drums" details how drums are made in the Yoruba Culture. It is striking how the performer can change the instrument's pitch by using the left hand to tighten ropes or leather straps affixed through the animal skin.

African Drums

African Drums [ 00:21-07:11 ]

From 00:22 - 0:47, notice how the dundum drum (defined below) responds to what the Griot A traditionally-hereditary profession in West Africa that preserves the genealogies, historical narratives, praise songs, and oral traditions of their people."-a West African spiritual leader and historian-has sung or intonedTo speak or recite in a singing voice, especially in monotone. in some cases. This intonation refers to text that is essentially half-spoken or half-sung, not to be confused with moans, cries, or vocal interjections indicative of the culture. Both sacred and secular African American music genres continue to use this characteristic call-and-responsePerformance style with a singing leader who is imitated by a chorus of followers. This is also known as responsorial singing. even today.

African Drums

African Drums [ 00:22-00:46 ]

Succinctly, in music, call-and-response is a succession of two phrases. The group leader delivers a first phrase (call), followed by a second phrase in which the group replies in affirmation (response). While here, it is necessary to mention that repetition is a type of call-and-response. RepetitionThe practice or form of using the same word or phrase over and over again in a piece of writing or speech to emphasize a point or make it memorable. involves doing the same thing over again. As we will later discover, repetition becomes more of an art form in enslaved African songs. Singing a repeated line of text requires each line to build in intensity and emotion.

As we continue to analyze drum types and related performance practices, at 01:00, you will notice two distinct pitches on one drum. The larger side of the drum produces a lower tone, and the smaller a much higher one. Notice how the sound changes when the drummer uses a stick instead of the hand or the place within the drum's head where he strikes it.

African Drums

African Drums [ 01:02-01:11 ]

This section 01:21 - 01:46, shows how the Oyo villagers meticulously craft the drums. First, tree logs are hollowed and carved into various hour-glass shapes and sizes, and then animal membranes are carefully scaled and then tightened for the drum's head with the use of a ram's horn.

African Drums

African Drums [ 01:21-01:46 ]

Amadou Hampaté Bâ

If you want to understand Africa, it is necessary to account for religion-I am not saying Islamic, Christian, or Jewish religion-I am saying religion that is faith.

A.M. Jones

Rhythm is to the African what harmony is to the Europeans, and it is in the complex interweaving of contrasting rhythmic patterns that he finds his greatest aesthetic.