West African Mande World

Senegal rappers adopted the United States method of hip hop and recreated it in order to fit their culture. Using our first samples and making it suitable to be mixed in utilizing their “local musical elements” (Appert 4) is what separates them from us. Descendants of previous griot’s Senegal rappers are the current “historians” and “social commentators” of the country (Appert 10) that use their music to tell their stories to the people of Senegal just as their predecessors did years ago except without our modern-day rap music and beats. Senegal rappers decided to hold on to their more traditional style of instruments. The kora which when played the sound resembles the harp, and the balafon is used in place of the piano allowing them to

The Mandinka society consist of the Jali, that is an oral historian this is seen to a role held throughout parts in western Africa. The kora is a harp-lute or bridge harp that is played by the Jali. The kora is similar to the harp. Just like the harp, the kora lie in a plane which is perpendicular to the face. The regular kora has 21 strings, which consist of 10 on the right and 11 on the left. The performer has two distinct sections, that are referred to the birimintingo and the kumbengo that allows the performer show his skill as a musician and as a praise singer. The birimintingo section is marked for solo runs on the kora. During teh kumbengo section the perfor repeats a steady pattern on the Kora while singing praises that relate to the history of the Mandinka or of individual family lineages. The kumbengo rhythms demonstrate the tendency of African musicians to use polyrhythm in the performance. During site 7 we hear a lower and an upper part. The lower represents a root rhythmic pattern, while the upper part interlocks with it and produces a cross rhythm. The repetition of the mumbengo allows the performer to focus on singing, trying to keep the performer of thinking about the kora performance. During the birimintingo section, the kumbengo is usually maintained in the lower part by the thumbs while the fingers play the upper melodic

Bali is one of many islands which make up the Indonesian archipelago and is located between the larger islands of Java and Lombok (E-Lr, 2015). Balinese gamelan is often connected with the proficiency and rapid virtuosity of gamelan gong kebyar, its best-known style. “Balinese music is most often characterised by its

In the 1787, the British established itself in West Africa. Sierra Leone was able to endure the British influence better than its region counterparts, because from 1825 to 1896 adopted the Temne political system with the purpose of indirect rule (Coleman, 2014). In 1961, Sierra Leone

The griot's have many different responsibilities which vary depending on what is expected of them. The most common responsibilities is recounting history, "composing music, teaching students or acting as diplomats." (What is a Griot? pg.1) However they can also be genealogists, spokespeople, warriors, interpreters, praise-singers, masters of ceremonies, advisors and much more. They "speak at celebrations such as birthdays" and other events (Culture interview, October 16, 2017) . They are often found at formal ceremonies such as weddings, baptisms and funerals. But they can speak in any situation. They love to tell about their history and they are more polychromic than monochromic. Meaning they are more lax and open to discussion. In addition to these responsibilities they often play a

The Garifuna have survived through centuries of cultural oppression. From the beginning they were marginalized by dominant forces. Although there are still difficulties, they have still been able to keep their own identity. The music, especially traditional Punta and Punta Rock have created a way to promote Garifuna culture and raise awareness of social problems worldwide. Music has always been a way of communicating traditions, such as the honor of ancestors and a way of defining the unique identity and values of their society, especially with the texts of the songs. The texts reflect the influence of African heritage and syncretism with the indigenous culture. They displays the value of strengthen the identity culture. The development of

West Africa has had a rich history filled with traditional African culture along with cultures of other people and religion. Many of these new cultures and religions came from outside sources. Many advances and draw backs can occur when outside stimuli affect a culture. This is no different to the sources that affected the Sudanese kingdoms of West African. Many outside sources could create impact on the community however two specifically created the largest impact. The two big things to impact West African kingdoms was both the Islamic religion and the trade routes that ran through these kingdoms.

(4) It is played in a fast tempo of about 140 beats per minute and throughout the song, the drums play in a quick, driving manor always pushing the tempo rather than a relaxed, lazy feel. Likewise, the saxophone plays quickly, much like the saxophone players of bebop. As mentioned previously, this song is played in what seems to be a mode common to Indian or Middle Eastern music. The mode is major sounding, adding to the uplifting feel. The theme of the song is played strictly in this mode and the saxophone and guitar stick to this mode with the exception of their improvised solos, where they begin to explore, using all the notes while remaining grounded in the

(15.3 West African Music). Another instrument is the ngoni, it is an instrument made out

Greatly inaccessible regions in Africa may have comparative, even indistinguishable, attributes, while adjoining territories may have very distinctive styles. The multipart singingstyle in triads inside of an equiheptatonic tonesystem of the Baule of Côte d'Ivoire is so close, if not indistinguishable, to the part singing style of Ngangela, Chokwe, and Luvale people groups in eastern Angola that the closeness is instantly perceived by sources from both societies.

The subject of this music ethnography focuses on traditional Chinese music from the late 20th and early 21st centuries. The topic of this ethnography is about how the usage of Chinese traditional instruments play a role in Chinese music and cultural identity. The hypothesis asks how instruments play a role in a country’s music and cultural identity. Some definitions that will be explored is cultural identity and Chinese music. Cultural identity is the sense of belonging to a particular group. Chinese music is an art form that comprises of organized vocal and instrument sounds developed in China. In archaeological records, the birth of Chinese instruments date as far back as 3000 BCE. (Malm 2016) Chinese instruments and music have a long history,

As the legendary Stevie Wonder once said, 'Music is a world within itself. With a language we all understand'. The world is filled with all different types of music, instruments, and beats. Music is something that can be appreciated by every culture around the world as it is exists within many social and religious rituals around the globe. People around the world immerse themselves in music in order to enjoy the beautiful sounds and learn to play all the different types of instruments that have been invented over the past couple centuries. By studying instruments that came to exist long before our time, one is able to gain insight into how music has evolved to shape the instruments that exist within cultures across the globe today. A very popular Greek instrument that is a topic of interest is the Bouzouki. This instrument was brought to Greece in the 1900s by Asian Minor immigrants and it quickly became adopted as one of the rebetika genre's central instruments (Greeksongs, 2016). Today, it is hard for one to not conjure up images of the beautiful Greek islands when they hear the sounds of the Bouzouki as it is one of the

Sliotar Music work with the most talented, reliable and professional artists who abandon the traditional and the formal style of music playing and create innovative sounds with the instruments such as Celtic Harp, Fiddle, Irish Flute

2a. The krar is a type of lyre that composes of “two arms and a crossbar” (Lesson 2). By attaching strings perpendicular to the plane of the crossbar with each string being of different lengths, the plucking or strumming of the strings create sounds of different pitches. This pitch is determined by the placement of the player’s hands on the strings to artificially determine the length of the strings, ultimately leading to the control of different notes that can be produced. The Ethiopian krar from the video happens to be amplified, allowing for the sound to be projected louder. The amplitude of the volume is helpful in the public tourist restaurant setting where the performer is playing the krar. The Ethiopian krar is used in both traditional and popular ensembles so it can be versatile. In the video, the musicians are playing at a traditional restaurant while playing an Ethiopian instrument and Ethiopian tunes. The instrument itself is very much a part of the local culture as much as the music itself. The melody that is being played in the Ethiopian krar video is unique to Ethiopian people as the tune is being played at a traditional restaurant. Through the unique tune, identity and exclusive

Within the cultural diversity of the Republic of Indonesia there are numerous artistic art forms that have surfaced throughout this country. These genres give outsiders a glimpse into the cultural and social context in which this society functions. Internationally this country is most recognized for its traditional music ensemble known as gamelan. This art form serves as a significant part of the artistic culture. It is used to accompany dances, puppet performances, rituals, and various ceremonies. Furthermore, gamelan has always been an important part of the social construct within the different provinces of Indonesia as it holds great recognition within its community. The different forms of gamelan throughout the country in many ways have served as its own version of the Gesamtkunstwerk within the culture of Indonesia and through provinces such as Bali we see how one of their own genres of gamelan became the genesis for Balinese artistic culture.