LISTENING | NOTES |
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Unit 1: Introduction | |
![]() | This is a solo kora piece, composed in about 1820 by a griot in the west of Senegambia. It is dedicated to the Diakha people, who live in the village of Dia in the center of Mali. |
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![]() | This selection begins with a solo improvisation on the gorong yeguel. At 0:19, the accompaniment parts join in, playing Kaolack. At 0:42, the rest of the ensemble plays the signature bàkk ("Rose Rhythm") in unison. Beginning - Solo improvisation on the gorong yeguel 0:17 - Drummers start tapping their sticks, keeping time [jek, jek jek jek] 0:19 - Accompaniment parts join in, playing Kaolack. Listen for the mbung-mbung playing Kaolack [te tan pax – gin (gin)] as well as the talmbat (bass drum accompaniment.) 0:42 - The rest of the ensemble enters, playing the signature bàkk ("Rose rhythm") in unison. [Chaw raw rwan gin, chaw raw rwan gin gin gin gin gin gin gin gin gin gin gin... ] 3:09 - The bàkk ends, and the ensemble turns to a shorter repeated rhythm [gin gin gin] 3:37 - Gorong yeguel solos above the texture created by the rest of the ensemble 4:12 - All drummers play in unison for the closing bàkk |
Unit 2: Senegal | |
M'Baye, Cheikh Taïrou. "Farwou Diar - Thie Bou Djeune." Mame Bouna. Mame Bouna Productions, 2003. | This track features the first two dance rythmes played at a sabar. "Farwou Diar" means "worthy boyfriend", and was originally played for couples to encourage courtship, though it is now danced by women. The rhythm is characterized by a rolling triplet figure in the mbalax part (ja-JA-gin), with the emphasis on "JA" (just before the bass tone). Thieboudjeune begins at 2:24, and can be characterized by a fast duple meter (GIN, ja-ja) with the emphasis on the bass note. Thieboudjeune is named after Senegal's national dish, literally "rice and fish." Beginning - Farwou Diar dance rhythm begins after a very brief introduction 1:14 - A short bàkk can be heard, layered within the rhythm (rwa ja gin, gin gin ja gin... ) 2:04 - Transition bàkk alternates with thiol (bass drum) solos 2:24 - Thieboudjeune rhythm begins; notice the duple meter and faster tempo 3:37 - Interlude of call and response with the lead drum (Nder) 3:54 - Returns to the main rhythm 4:25 - Ends with a unison bàkk |
Nder, Alioune Mbaye. "Lenëën." Nder et le Setsima Group. Disques Nuits D'Afrique, 2000. | This is an example of a typical slow mbalax song. The text is about love ("love is something else"), and the importance of respecting women. Listen for the Kaolack accompaniment part (i.e. "mbalax") which is played on the sabars throughout the song, as well as a bàkk that appears at 2:15 and 3:44, punctuating the ends of sections. |
Etoile de Dakar. "Xalis." Xalis. Popular African Music, 1994. | This performance was recorded in 1978, and is an example of the young Youssou N'Dour. An example of early mbalax. |
Orchestra Baobab. "Autorail." Bamba. Stern's Africa, 1994. | This is an example of early dance-band music, with heavy Afro-Cuban influences. Recorded in 1980. |
Orchestra Baobab. "jin ma jiin ma." Specialist in all Styles. Nonesuch, 2002. | By the recently re-grouped Orchestra Baobab, recorded in 2002. Sung by Rudy Gomis over a classic 'salsa' rhythm. |
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Diamono, Lemzo. "Boul ko fowe." Marimbalax. Originally released in 1992. | Sung by Alioune Mbaye Nder ("Nder"), before he began his solo career. Slow song; compare to Nder's "Drogue." |
Nder, Alioune Mbaye. "Drogue." Nder et le Setsima Group. Disques Nuits D'Afrique, 2000. | This is a newer version of the song "Boul ko fowe" by Lemzo Diamono. This version features keyboards by French musician Jean-Philippe Rykiel, and violin. This CD was released for a European market. |
![]() | An example of Senegalese "folk." Translates to "widen the circle." Talks about standing up for democracy, tolerance and peace; was an important theme song in the election campaign of 2001. |
Fatou, Guewel, and Groupe Sope Noreyni. "Fiirnde Santa Bamba." Fatou. Stern's Africa, 2006. | This is an example of neo-traditional mbalax music, featuring more sabar, and the xalam (plucked lute, similar to banjo.) Note the traditional griot style of singing, both by the lead vocal, as well as the call-and-response with backing vocals. |
Positive Black Soul. "Gold and Diamonds." Run Cool. Palm Tree Enterprises Inc. / East West France, 2000. | |
Interlude: Southern Africa | |
![]() | Example of isicathamiya. |
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![]() | Example of Kwaito music from South Africa. |
![]() | Example of Shona mbira dzavadzimu. Begins with single kushaura player, then kutsinhira player joins in, followed by the hosho. |
![]() | Both parts improvise in this excerpt. |
![]() | Example of chimurenga music. Hear how the mbira technique is transformed to the electric guitar. |
![]() | Note the use of mbiras in his line-up. |
Unit 3: Mali | |
![]() | This recording features musicians from Kolda, in the south of Senegal. It includes 3 koras, percussion, and a chorus of singers. |
![]() | This recording features musicians from Brikama, the Gambia. There are 6 koras, and a chorus of singers. |
![]() | This song features the Super Manden ensemble: Abdoulaye Diabate, voice; Abou Sylla, bala; Fousseny Kouyate, n'goni; Yacouba Sissoko, kora; Mamadou Diabate, kora; Chiek Barry, bass; Moussa Sissoko, guitar. It is a song of the Sunjata epic cycle about a key ally to the emperor, the sorcerer and warrior Fakoli. |
![]() | About Sylla and Famoro Dioubate, balafon duet. One bala is played without the characteristic buzzing resonator, lending a contrasting voice to the balance of the instruments. |
![]() | Features Djefalima Diabate, voice; Abou Sylla, bala, dundun; Fode Bangoura, djembe. A song appealing to youth to respect their elders. |
Tounkara, Balla. "Dianfa." (Treason). Be Right. Balla Tounkara Music, 2000. | Example of kora in "House" music style; arr. Tounkara and Wirth. |
"Le Monde est Fou." (It's a crazy world). Be Right. Balla Tounkara Music, 2000. | Example of kora music fused with a Cuban style; arr. Tounkara. |
![]() | Traditional arranged by Toure; sung in Bambara. Instrumentation: Ali Farka Toure, vocals, electric guitar; Ry Cooder, electric guitars, bass guitar, marimba, accordion sample; Hamma Sankare, calabash, chorus vocals; Oumar Toure congas, chorus vocals. |
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![]() | This song was recorded in 1978 in Abidjan, Ivory Coast. It is a famous epic poem dedicated to the Mandingo people and Guinee's President Sekou Toure. Considered Salif Keita's classic song. |
Unit 4: Ghana | |
"Agbekor." From CD in ![]() | Traditional music of Ewe people. a. Three slow-paced songs (0:00-2:52). b. One song in free rhythm (3:02-4:20). c. One fast-paced song (4:27-5:35). From a field recording by David Locke, Anlo-Afiadenyigba, Ghana, 1976. |
![]() | Gankogui part is played solo, then paired up with the following instruments in order: axatse, kaganu, kidi, kloboto, totodzi, and finally with the full percussion ensemble. |
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![]() | "Ferocious Wild Bull". Traditional praise name dance song of Dagbon; performed by lunsi drummers of the Dagbamba people. Begins w/ call by leading lunga drum, followed by chorus answer (including lunga and gung-gong drums); praises by vocalist and leading lunga drum; then chorus, praises, corus, then fade out during verse. Field recording by David Locke, Ghana, 1984. |
Mensah, E. T., and the Tempos Dance Band. "Schoolgirl." Giants of Danceband Highlife. Original Music, 1990. | |
Calendar, Ebenezer. "Nobody's Business." | |
![]() | Akan music from the Denkyira area of Ghana. |
![]() | Postal workers canceling stamps at the University of Accra, Ghana, post office. The whistled tune is the hymn "Bompata," by the Ghanaian composer W. J. Akyeampong. A field recording by James Koetting in Legon, Ghana, 1975. |
Interlude: Central Africa | |
![]() | Example of Soukous. |
![]() | Example of soukous. |
![]() | Example of soukous, featuring "kwassa kwassa". |
Unit 5: Nigeria | |
![]() | Tunde King is one of the first juju musicians, and is credited with coining the term. This song was recorded in 1936. |
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![]() | Criticizes the commonplace practice of skin-bleaching among African women. |
![]() | Femi Kuti is the son of Fela Kuti. |
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Interlude: East Africa | |
![]() | The Endingidi is a Ugandan tubefiddle. |
Choir of the Mikocheni Anglican Church. "Endongo demonstration." Track 21 on CD in ![]() | A KiHehe melody, sung by the choir of the Mikocheni Anglican Church at a Mashindano ya Kwaya at St. Alban's anglican Church, Dar es Salaam, 1993. Led by Gideon Mdegella. Example of kwaya music from Tanzania. |
Muyinda, Evalisto. "Omunya" (the lizard.) From CD in ![]() | The singer, Evalisto Muyinda, praises the lizard; it is a harmless animal; it doesn't eat bread and rice. So there's no reason for killing it. And if you kill and lizard, you will never go to heaven. Vocals accompanied by the endongo, the 8-stringed bow lyre. Muyinda is one of the last remaining court musicians who played traditional music for the Baganda royalty. |
"Sinamwa ku mwenge muka ogwembuga." From CD in![]() | In this song, the musicians (through their music) indirectly ask the king (Kabaka) for beer. This example features 3 musicians on the akadinda, or xylophone, and one on ensasi (rattle). |