By Jacqueline Cogdell DjeDje

ISBN-10: 0253000092

ISBN-13: 9780253000095

ISBN-10: 0253219299

ISBN-13: 9780253219299

Fiddling has had a long historical past in Africa which has lengthy been neglected. Jacqueline Cogdell DjeDje corrects this oversight with an expansive examine on fiddling within the Fulbe, Hausa, and Dagbamba cultures of West Africa. DjeDje not just explains the historical past of the device itself, but in addition discusses the techniques of stylistic transference and variation, suggesting how those can have contributed to differing functionality practices. also, DjeDje delves into the tune, the functionality context, the musicians at the back of the mess around, the that means of the tool, and its use in those 3 cultures. This distinct paintings is helping the reader comprehend and savour 3 little-known musical cultures in West Africa and the fiddle's effect upon them.

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Extra info for Fiddling in West Africa: Touching the Spirit in Fulbe, Hausa, and Dagbamba Cultures

Sample text

In the past, it used to be made of a flexible, bowshaped piece of wood. Now, it is a curved, flat piece of iron” (Bornand 1999:15). The Sherbro of Sierra Leone and the Fulbe in Senegambia use a reed or thin wooden stick for the bow. , Fulbe of Sierra Leone, Gurma, Hausa, and Maouri) use a piece of metal; only the end portion of the bow, which is held in the hand by the fiddle player, has a leather covering. 1). Generally, leather-covered bows are made in the shape of Example A, whereas metal, reed, or wooden bows are constructed in the shape of Example B.

After the imzad player completes her melodic passage in measure 14, she moves to the pitch C in measure 15, which she sustains while the singer performs an intricate melodic passage. While the imzad player improvises in measure 16, the singer remains on pitch C. Rhythmically, the music in the Sahelian performance style is normally free. Although not articulated audibly with percussion or other instruments, an underlying pulse can sometimes be felt. The vocal quality of singers who perform in the Sahelian style is more tense, strident, and strained than that used in other styles.

3,39 the bowing can be described as “sawing” because single strokes are paired with individual pitches. When the same pitches are repeated many times (see measure 9 where pitch E is played five times and measure 11 where the fiddler performs pitch B six times), this produces a percussive sound that corresponds with the syllabic singing. The Frafra fiddler varies his performance by inserting short ornaments at different points in the melody. 3. Frafra fiddle music. Song in praise of the ancestors.

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Fiddling in West Africa: Touching the Spirit in Fulbe, Hausa, and Dagbamba Cultures by Jacqueline Cogdell DjeDje


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