By Ruth M. Stone
The Garland guide of African Music is produced from essays from The Garland Encyclopedia of global song: quantity 1, Africa, (1997). Revised and up to date, the essays provide distinct, nearby reports of the several musical cultures of Africa and think about the ways that track is helping to outline the id of this actual region.
Part One presents an in-depth advent to Africa. Part Two specializes in concerns and strategies, resembling notation and oral culture, dance in communal existence, and highbrow estate. Part Three specializes in different areas, nations, and cultures of Africa with chosen local case studies.
The moment version has been increased to incorporate intriguing new scholarship that has been carried out because the first variation used to be released. Questions for serious Thinking on the finish of every significant part consultant and concentration cognizance on what musical and cultural concerns come up whilst one experiences the tune of Africa -- matters that may no longer take place within the learn of different musics of the area. An accompanying audio compact disc deals musical examples of a few of the tune of Africa.
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Extra resources for The Garland handbook of African music
For aiding the singer, the spirit may exact much, even the singer’s life. griot (French) West African musical specialist, usually a custodian of important historical and cultural knowledge The Tragedy of Pona-Weni Such a relationship, always treacherous, can end in tragedy. My own ﬁeldwork shows such a case. In 1970, I recorded Pona-wεni, a ﬁne female singer, as she performed with Wokpεε, a male soloist. They sang “Giing,” the favorite song of the year in central Bong County, Liberia; in 1972, it was included on a Folkways recording.
As he takes his seat, the drums, trumpets and bugles are sounded. (Gibb 1929: 326) As Europeans explored Africa, starting at the coasts and pushing inward, they followed Arabs who had begun traversing the continent hundreds of years earlier. Mungo Park, traveling in 1860, richly detailed the interactive aspects of the arriving travelers and his subsequent engagement with music performers: This happened to be a feast day at Dalli, and the people were dancing before the Dooty’s house. But when they were informed that a white man was come into town, they left oﬀ dancing, and came to the place where I lodged, walking in regular order, two, and two, with music before them.
Almost 1,000 years before the phonograph was invented, Arab travelers wrote about their impressions of African music. Perhaps the most famous, Mohammed ibn Abdullah ibn Battuta, vividly described court music scenes in the kingdom of Mali in the 1100s (Gibb 1929). When ﬁrst the Portuguese, and then other Europeans, arrived in Africa, Arabs had long been active in exploring the continent. We should beware of assuming that the “dark continent” (as Europeans unsubtly dubbed it) suddenly came to life with the arrival of the Europeans.
The Garland handbook of African music by Ruth M. Stone