ids quiz 3

Isicathamiya

southern African musical style The most famous group of this style is Ladysmith Black Mambazo, Unomathemba" (or "Nomathemba") - this is from a film of the historic 1987 Graceland African concert in Zimbabwe, which was the last stop of Paul Simon's tour after the recording of the album Graceland. https://youtu.be/XBMAXQ28V-w

kora

stinge Mande spike harp chordophone, jeli instrument. Sidiki, toumani and Mamadou Diabate represent one of the greatest lineages of kora players

Beginning in the 1940s, Sidiki Diabate's song "Kaira" came to be closely associated with _____.

the Malian struggle for independence from French colonial rule

The empire that was unified by the legendary warrior and hero Sunjata Keita and was centered south of present-day Bamako on the banks of the Niger River in western Mali was known as _____.

the Mande empire

In sub-Saharan Africa, the collective expression of the community as a whole, diverse in its individual components, polyvocal in its articulation, and unified in its totality, is highly valued in _____.

the act of paying homage

Paying homage and due respect to various entities in sub-Saharan Africa often takes the form of communal rituals involving music and _____.

the active participation of all in attendance

jeliya

the artistic culture of the jeli, including its praise songs and instrumental music traditions

A Fontomfrom is a royal set of drums that is played at events at which _____.

the chief of the Akan makes a public appearance

African Diaspora

the dispersal of people from Africa (the majority from West africa) to other parts of the world, especially the americas (U.S., brazil, caribbean, etc) ; largely a result of the Euro-American slave trade, at least initially. today, the african diaspora is global in scope and its worldwide musical impact cannot be overestimated

Brimintingo

the improvisational, soloistic style of the instrumental performance used on instruments like the kora, bala, and koni in Mande jeliya music

Sidiki Diabate's charisma and activism endeared him to the Malian people, but not to the French colonial authorities. They imprisoned him, which energized the Malian independence movement that then came to be known as the "_____."

Kaira Movement

mande

Major ethnic group of western Africa, concentrated in areas of Mali, Senegal, Guinea, Guinea-Bissau, and Gambia. Principal subgroups are the Maninka (Mali, Guinea) and Mandinka (Senegal, Gambia).

The great, ancient _____ civilization developed and spread along the three great waterways of western Africa: the western Niger river, the Senegal river, and the Gambia river.

Mande

fon

One of the major ethnic groups in the West African nation of Benin; Angélique Kidjo is of Fun heritage and many of her songs are in the Fun language ( e.g., "Okan Bale")

all musical terms (everything in bold) facts about musicians/composers and their groups/bands. aspects of the countries and music cultures discussed facts about the songs/pieces discussed in the textbook or in each weekly module, which may include material not discussed in the textbook. any material in the modules that is not included in the textbook, such as videos, additional recordings, and expanded discussion. listen to all pieces carefully

Piece identification: You will have to identify pieces included in the "Listening Assignments" tabs after hearing short excerpts (musicians/composers and piece names will be provided in a multiple choice format). To recognize pieces and be able to identify them, you need to listen to each piece several times. You should make note of: instrumentation: is there singing, a large or small ensemble, or a specific combination of instruments that stands out? Are any of the instruments unusual or have timbres that make them easy to distinguish from other instruments in other pieces? tempo: is the piece fast, medium, slow? dynamics: how loud/soft is the piece? Is there one general dynamic throughout, or are there lots of changes? main melodies: In addition to listening to the entire song/piece, listen to the main melodies repeatedly. It's great if you can get to a point where you can recall the melodies or rhythms and sing them to yourself without the recording. have a friend test you by playing you the different selections from the listening assignments beginning at any point during the song/piece. pieces without vocals/lyrics: these will likely be more difficult for you to become familiar with, so you may need to pay special attention to these and listen more carefully/repeatedly, and make sure you are very familiar with the instruments, melodies, and rhythms. make note of any other things you notice that stand out about each piece. There are no make-up quizzes for any reason, including technology problems, so make sure you do not leave quizzes for the last minute.

The new musical forms and styles that have developed in Africa in response to contemporary situations and circumstances are frequently built from a combination of _____.

indigenous African music and international music that developed within the African diaspora

The genre of music that emerged out of a synthesis of the traditional music of Zulu peoples in southern Africa and the Christian hymnody introduced by European missionaries is referred to as _____.

isicathamiya

An accurate statement about the koni is that _____.

its size, pitch range, and number of strings vary

The principal exponents of the kora and its art have always belonged to a hereditary class of professional Mande musicians known as _____.

jeli

The _____ are the griots (praise singers, praise musicians) of Mande culture.

jelilu

The instrument of the jeli called the _____ is a plucked chordophone akin to the banjo.

koni

tonal language

languages in which the meaning of words is determined not just by the actual sound of their syllabus but also by the specific patterns of pitch, rhythm, and timbral inflection with which they are articulated. many west african languages such as the akan language Twi are tonal, so too are other languages including Mandarin Chineese

drum speech

linguistic use of certain types of West African drums ( atumpan) in certain contexts (reciting proverbs) which is made possible by the use of tonal languages

The Akan are principally a _____ people, which means that they trace their descent lines through the side of the mother.

matrilineal

a significant feature of the Akan proverb of the river and path is that is

may be recited in drum speech

Timbral Variety in Sub-Saharan African Music

musical characteristics common to the music of sub-Saharan Africa Here we look at examples of two instruments whose timbres favor a complexity of sound, rather than the "pure" tone favored in Western instruments. The first is the endongo, the instrument performed by Joel Sebunjo in "Nakatanza" the following video features Damascus Kafumbe (also mentioned on p. 212) introducing the endongo and performing the song "Njagala Nkwagale." The buzzing timbre of the endongo gives the music more variety in the overall sound quality than, say, if Kafumbe was playing on a guitar. Although "Njagala Nkwagale" was composed ahead of time, the song also features a significant amount of improvisation (another musical Africanism, p. 211), as Kafumbe varies the rhythms and melodies in different ways to make the music more interesting and spontaneous.

which of the following qualities is valued in many modes of social and conversational interaction in west africa?

polyvacality

A vocal ability that resonates strongly in the social interaction of music making in West Africa is _____.

polyvocality

The repertoire of the art form jeliya centers on _____.

praise songs

One of the common features shared by the jeliya performance entitled "Atlanta Kaira" and Seckou Keita's song "Dounuya" is that both _____.

provide rich examples of timbral variety

The scale of one of the principal modes of Mande music called _____ sounds much like a major scale starting on the pitch F, but with a raised fourth degree.

sauta

1. Kumbengo 2. Birimintingo 3. Sataro

1. A layered ostinato-based style on the kora that is normally used to accompany singing 2. An improvised melodic flourish 3. A style of vocalization in which the singing is improvisatory, extemporaneous, generally higher in pitch range, and sometimes even speechlike in characterA style of vocalization in which the singing is improvisatory, extemporaneous, generally higher in pitch range, and sometimes even speechlike in character

1. Senegal, Mali, and Guinea 2. The nation of Gambia 3. Guinea-Bissau

1. french 2. english 3. Portuguese

1. The Maninka 2. the Mandinka

1. mali and guinea 2. Senegal and Gambia

match the types of drums used in the song Founé composed by seckou keita with their places of origin 1. The sabar 2. The bougarabou 3. The djembe 4. The seourouba

1. the wolof people 2. the diola 3. guinea 4. the mandinka

jeli

A Mande griot. Most of the leading jelilu are descended from a hereditary jeli family (Kouyate, Diabate, Sissoko). Those who are instrumentalists play specific jeli instruments such as kora, bala, and koni.

Identify accurate statements about the jelilu. (Check all that apply.)

A male jeli both sings and plays instruments. A female jeli may be referred to as a jelimuso.

What is the international significance of African music?

Africa retains some of the world's oldest extant musical traditions.

Ragtime, blues, jazz, rhythm-and-blues, soul, rock-and-roll, rap, hip-hop, salsa, Cuban son, Puerto Rican bomba, Trinidadian steel band, Jamaican reggae, Brazilian samba, and scores of other musical genres originated from the blending of _____

African- and European-derived musics

Ethnomusicologists identify the key, readily identifiable features of the musics of sub-Saharan Africa, and of West Africa in particular, as musical .

Africanisms

Fontomfrom

Akan royal drum ensemble featuring several drums (from, atumpan, eguankoba) and the dawuro iron bell

sauta

An important musical mode in Mande music, using a scale that is roughly equivalent to F G A B C D E (F) in Western music.

Timbral Variety in Sub-Saharan African Music ( mbira )

Another instrument that exhibits timbral variety is the mbira dzavadzimu, an instrument of the Shona people of Zimbabwe. The mbira creates its unusual, buzzing sound through the rattling of bottle caps that are loosely attached to both the body of the instrument and the instrument's gourd resonator. As the mbira is played, we essentially hear two distinct sounds: the sound coming through the plucking of the metal keys, which is itself quite a pure sound, plus the sound of the bottle caps rattling. Mbira music also exhibits other musical Africanisms (see pp. 210-211), such as complex polyphonic textures and layered ostinatos with varied repetition. Notice that the mbira can play three different melodic/rhythmic layers at the same time (polyphonic textures), corresponding to the three levels of keys that you see (the two on the left are the lower and middle registers, the one on the right is the upper register). Each of those layers is a recurring pattern (ostinato) that is also varied.

koni

Banjo-like plucked chordophone of the Mande; jeli instrument. Bassekou Kouyate is one of its best-known exponents.

Identify the different musical styles used by Seckou Keita in his song Dounuya. (Check all that apply.)

Birimintingo Sataro Kumbengo

What are the features that the jeliya performance entitled "Atlanta Kaira" shares with Seckou Keita's song "Dounuya?" (Check all that apply.)

Both include performance in the kumbengo, birimintingo, and sataro styles that are characteristic of jeliya music. Both pieces have complex polyphonic textures and feature layered ostinatos, varied repetition, and improvisation.

Identify an accurate statement about the musical traditions in Africa.

Drumming is not the basis of most music in Africa.

The language which Angélique Kidjo, "the diva from Benin," sings the majority of her songs in is _____.

Fon

Despite the cosmopolitan internationalism of Angélique Kidjo's music, the linguistic preference of her music ties her and her artistry closely to her _____.

Fon heritage

The royal Akan drum ensemble known as _____ exemplifies the concept of a conversation played out in musical tones between multiple participants "speaking" all together at once and in turn.

Fontomfrom

Africanisms (musical)

Identifiable musicultural characteristics that are widely shared across sub-Saharan Africa and are prominent in musics of the African diaspora as well.

What are the salient features of musical Africanisms? (Check all that apply.)

Improvisation Conversational element Complex polyphonic textures Layered ostinatos with varied repetition

Praise songs (in jeliya)

In the jeliya tradition of the Mande and in other African griot traditions, a class of songs that were traditionally sung to honor royalty exclusively, but that are now often performed in honor of modern politicians or other wealthy patrons who are not of royal lineage as well.

What is a distinctive feature of the song Founé composed by the jeli and kora virtuoso Seckou Keita?

It features an ensemble of musicians singing and performing on drums from different regions of western Africa.

Identify an accurate statement about the Ghanaian drum ensemble known as Fontomfrom.

It involves one percussionist playing a steady, repeating rhythmic pattern (ostinato) on an iron bell called a dawuro.

Which of the following is one of the four principal modes in Mande music in which the song "Atlanta Kaira" is played?

Sauta

isicathamiya

South African a cappella vocal genre; largely identified with the iconic group Ladysmith Black Mambazo

Identify the long-established chiefly traditions of the Akan chiefs. (Check all that apply.)

Sponsoring Fontomfrom performances Purchasing a royal set of drums such as a Fontomfrom

Which of the following countries host large concentrations of people of African descent who belong to the African diaspora? (Check all that apply.)

The Caribbean, Brazil, United States

kumbengo

The accompaniment style of instrumental performance used on instruments like the kora, bala, and koni in Mande jeliya music.

Seckou Keita (the performer of the song "Dounuya") playing alongside ngoni master Bassekou Kouyate, who is part of another hereditary jeli family.

The duo between kora and ngoni at the beginning of the video is a fairly traditional example of the musical art of jeliya. Yet, once the Orchestra of Syrian Musicians joins in, the video demonstrates that Keita and Kouyate are not bound to simply prolonging the tradition of their respective instruments, but are open to performing their music in new contexts. The video is long, but pay attention to the opening dialogue between kora and ngoni, a great example of the conversational element (another musical Africanism, p. 211) in much sub-Saharan African music. Notice the shift to a Middle Eastern mode/scale (from 0:56-1:00) that becomes the basis for the rest of the piece. Also, watch the virtuosic solos by Keita (at 2:40) and Kouyate (at 8:48). At 11:24, listen to Kouyate's use of wah-wah pedal, which is, of course, not a traditional way of playing the ngoni! Beginning at 5:21, you hear the Ney (Nay), a Persian flute. Listen to how the performer plays continuously without taking a breath--this is called circular breathing, where the performer breathes in through the nose while blowing out through the mouth (you can see him doing it at 5:38, 5:44, 5:50). https://youtu.be/XnVo-881Q8k

The from optimum pawn Aidan Coba fontofrom nkokwane

The from is a very tall heavy type of drum with a low pitch. The lead drummer of the Fontan from ensemble plays on the from. the optimum pawn are also large and heavy though they are not nearly as tall as the from and are higher in pitch. The Aidan Coba are thin relatively tall drums taller than the optimum pond but significantly shorter than the from their pitch is higher than that of the other drums in the ensemble. an akan royal drum assemble all akan people are required to participate in rituals devoted to honoring their family ancestors, drums are in appearance with the chief "musical bow" of the Quii people ( bushmen, san ) of southern africa and

Which of the following has figured prominently in African nationalist movements and African responses to modern sociopolitical challenges and opportunities?

The revival, revitalization, and modernization of traditional forms of African music, dance, and ceremonial practice

Which of the following is an example of non-drumming-based African musical artistry?

The traditional elephant hunting song of the Central African BaMbuti people

What was a traditional role of the jelilu in the Mande culture?

They alone had the right to sing about certain sensitive issues of Mande social and political life.

tonal language

a language in which the sound pitch of a spoken word is an essential part of its pronunciation and meaning

akan

a large ethnic group of west africa concentrated principally in the modern nation of Ghana

atumpan

a set of two large drums used by the akan for drum speech and also in other contexts such as Fontomofrom music

A large body of oral and written Mande literature is formed by tales of the rise of the Mande empire from _____.

a small chiefdom ruled by great hunters to an expansive and powerful West African empire under Sunjata

The Kora

a twenty-one-stringed harp played by Mande jelis both in traditional and less traditional settings https://youtu.be/dKVin1doEEE

the rhythms and textures of just about every major international popular music phenomenon of the past century have their roots in

african soil

An accurate statement about the jelilu of the Mande culture is that they _____.

alone have traditionally been permitted to perform on designated jeli instruments

An example of an Akan drum that is literally capable of speaking itself by replicating the pitch, rhythm, and timbre patterns of verbal speech is the _____.

atumpan

Besides the kora, the _____ is one of the principal designated jeli instruments.

bala

The instrument of the Mande culture called the _____ is a xylophone constructed of between 17 and 21 hard wooden slats of different lengths that are suspended over a wooden frame in ascending pitch order.

bala

According to Mande custom, anyone bearing the royal name Keita is forbidden from _____.

being a jeli

isicathmiya was initially developed mainly by ______

black South African migrant laborers who worked under oppressive conditions as miners

All Akan who can trace their ancestry back through their mother, maternal grandmother, and earlier generations of matriarchs to a common ancestor are considered _____.

blood relatives belonging to the same clan

The timeline rhythm of the day euro

can be felt in several different ways. One way to feel it is as a four beat pattern with three subdivisions per beat like this. 1234123 or one Or when this music accompanies dancing the steps of the dancers often correspond to this way of feeling the rhythm. The different drum parts line up with and cut across the timeline rhythm of the day Euro in various ways. This creates a texture of polyrhythms multiple layers of rhythm in the different drum parts that imply different beats in meters occurring all at the same time

Fontomfrom

complex polyrhythms The tall drums are the from, and the smaller drums leaning against the wooden stand are the atumpan (there is no eguankoba in this video). The atumpan are also the drums that you hear in the beginning of the chapter, reciting the Akan proverb in drum speech Another type of talking drum, the lunga, can be seen on the very left of the screen at 0:42. You can also see two dawuro bells at 0:20. Notice the shape of the drum sticks--very different from the straight sticks used in Western music. https://youtu.be/I8828sOXcyo

Polyvacality

comprising "many voices" in the chapter, relates to the controversial dimension of much West African music, wherein many voices - vocal or instrumental - may speak and eb heard all at once, expressing aunified diversity of views are perspectives

The texts of much of the traditional repertoire of Mande music are constituted by _____.

epic accounts of the founding of the Mande empire

True or false: The kora is probably the least known and appreciated nonpercussion instrument of sub-Saharan Africa on a worldwide scale.

false

True or false: In Mande society, people of non-jeli families are encouraged to play jeli instruments and practice the art of jeliya.

false - it is generally frowned upon in Mande society for people of non-jell families to play jeli instruments or otherwise practice the art of jeliya

hereditary jeli families (Kouyate, Diabate, Sissoko)

family lineages of professional musicians (Kouyate, Diabate, Sissoko) many dating back centuries, who are exclusively associated with the griot traditions of Mande jeliya in west africa

griot

generic term from french covering a diverse range of performers of african hereditary praise song/music traditions including those of the Mande jeli

The African instrument called the kora, of the Mande peoples of West Africa, combines _____.

guitar- and harp-like features

Sataro

improvisatory, speechlike style of singing in jeliya vocal art. Kassé-mady diabaté is a master performer of sataro

What is the traditional method of playing the kora?

in a seated position on the floor

Toumani Diabate

the kora player heard in "Atlanta Kaira." kora duo of Diabate and his son Sidiki. This is a good example of how this music is passed down through different generations; as part of a hereditary jeli family, Sidiki Diabate was trained to become a jeli just like his father. he carries on this tradition, he also tries to expand the kora's role to include influences from other types of music in order to make the music more relevant to modern audiences. Notice that in his commentary at 1:58 on the song "Toumani," he describes playing with Pee Wee Ellis, who was a saxophonist and arranger for James Brown. Later, you'll see him playing in a group with instruments like the electric guitar, electric bass, and keyboard, alongside more traditional instruments like the ngoni (or koni) and the balafon. Also, pay attention at 3:02 as he demonstrates his ability to create complex polyphonic textures (the first of the musical Africanisms on p. 210) by playing three distinct lines at once (the bass, accompaniment, and an improvised melody). https://youtu.be/-NLHgE_6Ke8

A true statement about the jelilu is that they are _____.

the purveyors of the hallowed Mande musical art of jeliya

When playing the kora, the performer holds the instrument by two handgrips mounted on either side of the neck and plucks the strings with only _____.

the thumbs and forefingers

bala

xylophone of the Mande people of West Africa: one of several instruments historically identified with the musical traditions of jeliya