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Given the vastness of the continent, the traditional '''music of Africa''' is historically ancient, rich, and diverse, with the different [[Regions of Africa|regions]] and [[List of African countries|nations]] of [[Africa]] having many distinct [[music]]al traditions. |
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[[File:Mbira dzavadzimu.jpg|thumb|The [[lamellophone]] [[thumb piano]] or [[mbira]], a popular instrument in the [[African Great Lakes]]]] |
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Traditional music in most of the continent is passed down orally (or aurally) and is not written. In [[Sub-Saharan African music traditions]], it also frequently relies heavily on percussion instruments of every variety, including [[xylophone]]s, [[Drums|drum]]s, and tone-producing instruments such as the [[mbira]] or "thumb piano."<ref name="Columbia University">{{cite web|title=Traditional and Contemporary African Music|url=http://www.colum.edu/CBMR/Resources/Definitions_of_Styles_and_Genres/Traditional_and_Contemporary_African_Music.php|work=CBMR|publisher=Columbia University|accessdate=1 March 2014}}</ref><ref>{{cite web|last=Estrella|first=Espie|title=African music|url=http://musiced.about.com/od/historyofmusic/a/africanmusic.htm|work=Music Education|publisher=about.com|accessdate=1 March 2014}}</ref> |
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[[File:Umm Kulthum 2.jpg|thumb|right|Classical [[Egyptians|Egyptian]] vocalist [[Um Kulthum]]]] |
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The traditional '''music of Africa''', given the vastness of the continent, is historically ancient, rich and diverse, with different [[Regions of Africa|regions]] and [[List of African countries|nations]] of [[Africa]] having many distinct [[music]]al traditions. |
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Traditional music in most of the continent is passed down orally (or aurally) and is not written. In [[Sub-Saharan African music traditions]], it frequently relies on percussion instruments of every variety, including [[xylophone]]s, [[drums]], and tone-producing instruments such as the [[mbira]] or "thumb piano."<ref name="Columbia University">{{cite web|title=Definitions of Styles and Genres: Traditional and Contemporary African Music|url=http://www.colum.edu/cbmr/Resources/style-genre-definitions.html|work=CBMR|publisher=Columbia University|accessdate=3 March 2016}}</ref><ref>{{cite web|last=Estrella|first=Espie|title=African music|url=http://musiced.about.com/od/historyofmusic/a/africanmusic.htm|work=Music Education|publisher=about.com|accessdate=1 March 2014}}</ref> |
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The music and dance of the [[African diaspora]], formed to varying degrees on African musical traditions, include [[music of the United States|American music]] and many [[Caribbean music|Caribbean]] genres, such as [[soca music|Soca]], [[calypso music|Calypso]] (see [[kaiso]]) and [[Zouk]]. [[Latin American music]] genres such as the [[Bachata (music)|Bachata]], [[Danzón]], [[Samba]], [[Rumba]], [[Salsa music|Salsa]], [[Tango]], [[Cumbia]], |
The music and dance of the [[African diaspora]], formed to varying degrees on African musical traditions, include [[music of the United States|American music]] and many [[Caribbean music|Caribbean]] genres, such as [[soca music|Soca]], [[calypso music|Calypso]] (see [[kaiso]]) and [[Zouk]]. [[Latin American music]] genres such as the [[Bachata (music)|Bachata]], [[Danzón]], [[Samba]], [[Rumba]], [[Salsa music|Salsa]], [[Tango]], [[Cumbia]], |
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[[Bomba (Ecuador)|Bomba del Chota]], [[Mambo (dance)|Mambo]], [[Merengue (dance)|Merengue]], [[Reggae]], [[Compas]], [[Milonga (dance)|Milonga]], [[Son (music)|Son]], [[Guaracha]], [[Punta]], [[Cha-cha-cha (dance)|Cha-Cha-Cha]], [[Plena]], [[Conga]], and other [[clave (rhythm)]]-based genres, were also founded on the music of [[African slave trade|enslaved Africans]], and have in turn influenced [[African popular music]].<ref name="Columbia University"/> |
[[Bomba (Ecuador)|Bomba del Chota]], [[Mambo (dance)|Mambo]], [[Merengue (dance)|Merengue]], [[Reggae]], [[Compas]], [[Milonga (dance)|Milonga]], [[Son (music)|Son]], [[Guaracha]], [[Punta]], [[Cha-cha-cha (dance)|Cha-Cha-Cha]], [[Plena]], [[Conga]], and other [[clave (rhythm)]]-based genres, were also founded on the music of [[African slave trade|enslaved Africans]], and have in turn influenced [[African popular music]].<ref name="Columbia University" /> |
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== Music by regions == |
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=== North Africa and the Horn of Africa === |
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{{Main|Middle Eastern and North African music traditions|Arabic music|Middle Eastern music}} |
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==Music by regions== |
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===North Africa and the Horn of Africa=== |
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{{main|Middle Eastern and North African music traditions|Arabic music|Middle Eastern music}} |
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[[File:Umm Kulthum 2.jpg|thumb|right|160px|Classical [[Egyptians|Egyptian]] vocalist [[Um Kulthum]]]] |
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[[North Africa]] ''(red region on map below)'' is the seat of [[ancient Egypt]] and [[Carthage]], civilizations with strong ties to the [[ancient Near East]] and which influenced the [[ancient Greece|ancient Greek]] and [[Ancient Rome|Roman cultures]]. Eventually, [[Egypt]] fell under [[History of Persian Egypt|Persian rule]] followed by [[Ptolemaic Kingdom|Greek]] and [[Egypt (Roman province)|Roman rule]], while Carthage was later ruled by [[Africa (Roman province)|Romans]] and [[Vandal Kingdom|Vandals]]. North Africa was [[Muslim conquests|later conquered]] by [[Caliphate|the Arabs]], who established the region as the [[Maghreb]] of the [[Arab world]]. |
[[North Africa]] ''(red region on map below)'' is the seat of [[ancient Egypt]] and [[Carthage]], civilizations with strong ties to the [[ancient Near East]] and which influenced the [[ancient Greece|ancient Greek]] and [[Ancient Rome|Roman cultures]]. Eventually, [[Egypt]] fell under [[History of Persian Egypt|Persian rule]] followed by [[Ptolemaic Kingdom|Greek]] and [[Egypt (Roman province)|Roman rule]], while Carthage was later ruled by [[Africa (Roman province)|Romans]] and [[Vandal Kingdom|Vandals]]. North Africa was [[Muslim conquests|later conquered]] by [[Caliphate|the Arabs]], who established the region as the [[Maghreb]] of the [[Arab world]]. |
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[[File:Aar maanta.jpg|thumb|left|Aar Maanta performing with his band at Pier Scheveningen Strandweg in [[The Hague]], [[Netherlands]].]] |
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Like the musical genres of the [[Nile Valley]] and the [[Horn of Africa]] ''(sky-blue and dark green region on map)'',<ref name="Mdacacos">{{cite book|last=Abdullahi|first=Mohamed Diriye|title=Culture and customs of Somalia|publisher=Greenwood|year=2001|pages=170–171|isbn=978-0-313-31333-2}}</ref> its music has close ties with [[Middle Eastern music]] and utilizes similar melodic [[Mode (music)|modes]] (''maqamat'').<ref name="Hoppenstand">{{cite book|last=Hoppenstand|first=Gary|title=The Greenwood Encyclopedia of World Popular Culture, Volume 4|year=2007|publisher=Greenwood Press|isbn=9780313332555|page=205}}</ref> North African music has a considerable range, from the [[Music of Egypt|music of ancient Egypt]] to the [[Berber music|Berber]] and the [[Tuareg music]] of the desert nomads. The region's art music has for centuries followed the outline of [[Arab classical music|Arabic]] and [[Andalusian classical music]]: its popular contemporary genres include the [[Music of Algeria|Algerian]] [[Raï]]. |
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[[File:Aar maanta.jpg|thumb|left|Aar Maanta performing with his band at Pier Scheveningen Strandweg in [[The Hague]], [[Netherlands]]]] |
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With these may be grouped the [[music of Sudan]] and of the Horn of Africa, including the [[music of Eritrea]], [[Music of Ethiopia|Ethiopia]], [[Music of Djibouti|Djibouti]] and [[Music of Somalia|Somalia]]. Somali music is typically [[Pentatonic scale|pentatonic]], using five [[Pitch (music)|pitches]] per [[octave]] in contrast to a [[Heptatonic scale|heptatonic]] (seven note) scale such as the [[major scale]].<ref name="Mdacacos"/> The music of the Ethiopian highlands uses a fundamental modal system called ''qenet'', of which there are four main modes: ''tezeta'', ''bati'', ''ambassel'', and ''anchihoy''.<ref name=Grove356>{{NewGrove2001|Ethiopia|Shelemay, Kay Kaufman|viii|356}}</ref> Three additional modes are variations on the above: tezeta minor, bati major, and bati minor.<ref name="Barihun">[[Abatte Barihun]], liner notes of the album [[Ras Deshen (album)|Ras Deshen]], 200.</ref> Some songs take the name of their qenet, such as [[tizita]], a song of reminiscence.<ref name=Grove356 /> |
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Like the musical genres of the [[Nile Valley]] and the [[Horn of Africa]] ''(sky-blue and dark green region on map)'',<ref name="Mdacacos">{{cite book|last=Abdullahi|first=Mohamed Diriye|title=Culture and customs of Somalia|publisher=Greenwood|year=2001|pages=170–171|isbn=978-0-313-31333-2}}</ref> its music has close ties with [[Middle Eastern music]] and utilizes similar melodic [[Mode (music)|modes]] (''maqamat'').<ref name="Hoppenstand">{{cite book|last=Hoppenstand|first=Gary|title=The Greenwood Encyclopedia of World Popular Culture, Volume 4|year=2007|publisher=Greenwood Press|isbn=978-0-313-33255-5|page=205}}</ref> North African music has a considerable range, from the [[Music of Egypt|music of ancient Egypt]] to the [[Berber music|Berber]] and the [[Tuareg music]] of the desert nomads. The region's art music has for centuries followed the outline of [[Arab classical music|Arabic]] and [[Andalusian classical music]]: its popular contemporary genres include the [[Music of Algeria|Algerian]] [[Raï]]. |
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===West, Central, Southeast and South Africa=== |
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{{main|Sub-Saharan African music traditions|Rhythm in Sub-Saharan African music}} |
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[[File:Afrika MO.jpg|thumb|220px|right|''Geo-political map of Africa divided for ethnomusicological purposes, after [[Alan P. Merriam]], 1959.'']] |
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The [[ethnomusicological]] pioneer [[Arthur Morris Jones]] (1889–1980) observed that the shared rhythmic principles of [[Sub-Saharan African music traditions]] constitute ''one main system''.<ref name="Jones">Jones, A. M. (1959). ''Studies in African Music''. London: Oxford University Press. 1978 edition: ISBN 0-19-713512-9.</ref> Similarly, master drummer and scholar C. K. Ladzekpo affirms the "profound homogeneity" of sub-Saharan African rhythmic principles.<ref>Ladzekpo, C. K. (1996). [http://home.comcast.net/~dzinyaladzekpo/PrinciplesFr.html "Cultural Understanding of Polyrhythm"]. Foundation Course in African Music.</ref> |
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With these may be grouped the [[music of Sudan]] and of the Horn of Africa, including the [[music of Eritrea]], [[Music of Ethiopia|Ethiopia]], [[Music of Djibouti|Djibouti]] and [[Music of Somalia|Somalia]]. Somali music is typically [[Pentatonic scale|pentatonic]], using five [[Pitch (music)|pitches]] per [[octave]] in contrast to a [[Heptatonic scale|heptatonic]] (seven note) scale such as the [[major scale]].<ref name="Mdacacos" /> The music of the Ethiopian highlands uses a fundamental modal system called ''qenet'', of which there are four main modes: ''tezeta'', ''bati'', ''ambassel'', and ''anchihoy''.<ref name=Grove356>{{NewGrove2001|Ethiopia|Shelemay, Kay Kaufman|viii|356}}</ref> Three additional modes are variations on the above: tezeta minor, bati major, and bati minor.<ref name="Barihun">[[Abatte Barihun]], liner notes of the album [[Abatte Barihun#Ras Deshen|Ras Deshen]], 200.</ref> Some songs take the name of their qenet, such as [[tizita]], a song of reminiscence.<ref name=Grove356 /> |
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African [[traditional music]] is frequently functional in nature. Performances may be long and often involve the participation of the audience.<ref name="Study, Coordination Group Publications 2006, page 36">''GCSE Music - Edexcel Areas of Study'', Coordination Group Publications, UK, 2006, p. 36.</ref> There are, for example, little different kinds of [[work song]]s, songs accompanying [[childbirth]], [[marriage]], [[hunting]] and political activities, music to ward off evil spirits and to pay respects to good spirits, the dead and the ancestors. None of this is performed outside its intended social context and much of it is associated with a particular dance. Some of it, performed by professional musicians, is [[religious music|sacral music]] or ceremonial and courtly music performed at royal courts. |
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{{clear}} |
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=== West, Central, Southeast and South Africa === |
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Musicologically, Sub-Saharan Africa may be divided into four regions:<ref name="Jones"/> |
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{{Main|Sub-Saharan African music traditions|Rhythm in Sub-Saharan African music}} |
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[[File:Afrika MO.jpg|thumb|right|''Geo-political map of Africa divided for ethnomusicological purposes, after [[Alan P. Merriam]], 1959'']] |
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*The '''eastern''' region ''(light green regions on map)'' includes the [[music of Uganda]], [[Music of Kenya|Kenya]], [[Music of Rwanda|Rwanda]], [[Music of Burundi|Burundi]], [[Music of Tanzania|Tanzania]], [[Music of Malawi|Malawi]], [[Music of Mozambique|Mozambique]] and [[Music of Zimbabwe|Zimbabwe]] as well as the islands of [[Music of Madagascar|Madagascar]], [[Music of the Seychelles|the Seychelles]], [[Music of Mauritius|Mauritius]] and [[Comorian music|Comor]]. Many of these have been influenced by [[Arabic music]] and also by the [[music of India]], [[Music of Indonesia|Indonesia]] and [[music of Polynesia|Polynesia]], though the region's indigenous musical traditions are primarily in the mainstream of the sub-Saharan [[Niger–Congo language|Niger–Congo-speaking peoples]]. |
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*The '''southern''' region ''(brown region on map)'' includes the [[music of South Africa]], [[Music of Lesotho|Lesotho]], [[Music of Swaziland|Swaziland]], [[Music of Botswana|Botswana]], [[Music of Namibia|Namibia]] and [[Music of Angola|Angola]]. |
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The [[ethnomusicological]] pioneer [[Arthur Morris Jones]] (1889–1980) observed that the shared rhythmic principles of [[Sub-Saharan African music traditions]] constitute ''one main system''.<ref name="Jones">Jones, A. M. (1959). ''Studies in African Music''. London: Oxford University Press. 1978 edition: ISBN 0-19-713512-9.</ref> Similarly, master drummer and scholar C. K. Ladzekpo affirms the "profound homogeneity" of sub-Saharan African rhythmic principles.<ref>Ladzekpo, C. K. (1996). [http://www.richardhodges.com/ladzekpo/Developmental.html "Cultural Understanding of Polyrhythm"]. Foundation Course in African Music.</ref> |
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*The '''central''' region ''(dark blue region on map)'' includes the [[music of Chad]], [[Music of the Central African Republic|the Central African Republic]], [[Music of the Democratic Republic of the Congo|the Democratic Republic of the Congo]] and [[Music of Zambia|Zambia]], including [[Pygmy music]]. |
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*[[West African music]] ''(yellow region on map)'' includes the [[music of Senegal]] and [[Music of The Gambia|the Gambia]], of [[Music of Guinea|Guinea]] and [[Music of Guinea-Bissau|Guinea-Bissau]], [[Music of Sierra Leone|Sierra Leone]] and [[Music of Liberia|Liberia]], of the inland plains of [[Music of Mali|Mali]], [[Music of Niger|Niger]] and [[Music of Burkina Faso|Burkina Faso]], the coastal nations of [[Music of Cote d'Ivoire|Cote d'Ivoire]], [[Music of Ghana|Ghana]], [[Music of Togo|Togo]], [[Music of Benin|Benin]], [[Music of Nigeria|Nigeria]], [[Music of Cameroon|Cameroon]], [[Music of Gabon|Gabon]] and [[Music of the Republic of the Congo|the Republic of the Congo]] as well as islands such as [[Music of Sao Tome and Principe|Sao Tome and Principe]]. |
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African [[traditional music]] is frequently functional in nature. Performances may be long and often involve the participation of the audience.<ref name="Study, Coordination Group Publications 2006, page 36">''GCSE Music – Edexcel Areas of Study'', Coordination Group Publications, UK, 2006, p. 36.</ref> There are, for example, little different kinds of [[work song]]s, songs accompanying [[childbirth]], [[marriage]], [[hunting]] and political activities, music to ward off evil spirits and to pay respects to good spirits, the dead and the ancestors. None of this is performed outside its intended social context and much of it is associated with a particular dance. Some of it, performed by professional musicians, is [[religious music|sacral music]] or ceremonial and courtly music performed at royal courts. |
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Musicologically, Sub-Saharan Africa may be divided into four regions:<ref name="Jones" /> |
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* The '''eastern''' region ''(light green regions on map)'' includes the [[music of Uganda]], [[Music of Kenya|Kenya]], [[Music of Rwanda|Rwanda]], [[Music of Burundi|Burundi]], [[Music of Tanzania|Tanzania]], [[Music of Malawi|Malawi]], [[Music of Mozambique|Mozambique]] and [[Music of Zimbabwe|Zimbabwe]] as well as the islands of [[Music of Madagascar|Madagascar]], [[Music of the Seychelles|the Seychelles]], [[Music of Mauritius|Mauritius]] and [[Comorian music|Comor]]. Many of these have been influenced by [[Arabic music]] and also by the [[music of India]], [[Music of Indonesia|Indonesia]] and [[music of Polynesia|Polynesia]], though the region's indigenous musical traditions are primarily in the mainstream of the sub-Saharan [[Niger–Congo language|Niger–Congo-speaking peoples]]. |
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* The '''southern''' region ''(brown region on map)'' includes the [[music of South Africa]], [[Music of Lesotho|Lesotho]], [[Music of Swaziland|Swaziland]], [[Music of Botswana|Botswana]], [[Music of Namibia|Namibia]] and [[Music of Angola|Angola]]. |
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* The '''central''' region ''(dark blue region on map)'' includes the [[music of Chad]], [[Music of the Central African Republic|the Central African Republic]], [[Music of the Democratic Republic of the Congo|the Democratic Republic of the Congo]] and [[Music of Zambia|Zambia]], including [[Pygmy music]]. |
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* [[West African music]] ''(yellow region on map)'' includes the [[music of Senegal]] and [[Music of The Gambia|the Gambia]], of [[Music of Guinea|Guinea]] and [[Music of Guinea-Bissau|Guinea-Bissau]], [[Music of Sierra Leone|Sierra Leone]] and [[Music of Liberia|Liberia]], of the inland plains of [[Music of Mali|Mali]], [[Music of Niger|Niger]] and [[Music of Burkina Faso|Burkina Faso]], the coastal nations of [[Music of Cote d'Ivoire|Cote d'Ivoire]], [[Music of Ghana|Ghana]], [[Music of Togo|Togo]], [[Music of Benin|Benin]], [[Music of Nigeria|Nigeria]], [[Music of Cameroon|Cameroon]], [[Music of Gabon|Gabon]] and [[Music of the Republic of the Congo|the Republic of the Congo]] as well as islands such as [[Music of Sao Tome and Principe|Sao Tome and Principe]]. |
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[[Southern Africa|Southern]], [[Central Africa|Central]] and [[West Africa]] are similarly in the broad Sub-Saharan musical tradition, but draw their ancillary influences primarily from [[Western Europe]] and [[North America]]. |
[[Southern Africa|Southern]], [[Central Africa|Central]] and [[West Africa]] are similarly in the broad Sub-Saharan musical tradition, but draw their ancillary influences primarily from [[Western Europe]] and [[North America]]. |
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{{clear}} |
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== Musical instruments == |
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[[File:Abderrahmane Abdelli.jpg|thumb|right|[[Algeria]]n musician [[Abderrahmane Abdelli]] playing the [[oud]]]] |
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Besides vocalisation, which uses various techniques such as complex hard [[melisma]] and [[yodel]], a wide array of [[musical instrument]]s are used. African musical instruments include a wide range of [[drum (musical instrument)|drums]], [[slit gong]]s, [[Rattle (percussion instrument)|rattles]] and [[double bell]]s, different types of [[harp]]s, and harp-like instruments such as the [[Kora (instrument)|Kora]] as well as [[fiddle]]s, many kinds of [[xylophone]] and [[lamellophone]] such as the [[mbira]], and different types of [[wind instrument]] like [[flute]]s and [[trumpet]]s. Additionally, [[string instrument]]s are also used, with the [[lute]]-like [[oud]] serving as musical accompaniment in some areas. |
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==Musical instruments== |
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[[File:Abderrahmane Abdelli.jpg|thumb|right|[[Algeria]]n musician [[Abderrahmane Abdelli]] playing the [[oud]].]] |
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Besides vocalisation, which uses various techniques such as complex hard [[melisma]] and [[yodel]], a wide array of [[musical instrument]]s are used. African musical instruments include a wide range of [[drum (musical instrument)|drum]]s, [[slit gong]]s, [[Rattle (percussion instrument)|rattle]]s and [[double bell]]s, different types of [[harp]]s, and harp-like instruments such as the [[Kora (instrument)|Kora]] as well as [[fiddle]]s, many kinds of [[xylophone]] and [[lamellophone]] such as the [[mbira]], and different types of [[wind instrument]] like [[flute]]s and [[trumpet]]s. Additionally, [[string instrument]]s are also used, with the [[lute]]-like [[oud]] serving as musical accompaniment in some areas. |
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[[File:Mbira dzavadzimu.jpg|thumb|left|upright|The [[lamellophone]] [[thumb piano]] or [[mbira]], a popular instrument in the [[African Great Lakes]].]] |
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Drums used in African traditional music include [[talking drum]]s, [[bougarabou]] and [[djembe]] in [[West Africa]], [[water drum]]s in [[Central Africa|Central]] and West Africa, and the different types of [[ngoma drums]] (or engoma) in Central and [[Southern Africa]]. Other percussion instruments include many [[Rattle (percussion instrument)|rattles]] and [[Shaker (instrument)|shakers]], such as the [[Kashaka|kosika]] (kashaka), [[rain stick]], bells and wood sticks. Also, Africa has lots of other types of drums, and lots of flutes, and lots of stringed and wind instruments. |
Drums used in African traditional music include [[talking drum]]s, [[bougarabou]] and [[djembe]] in [[West Africa]], [[water drum]]s in [[Central Africa|Central]] and West Africa, and the different types of [[ngoma drums]] (or engoma) in Central and [[Southern Africa]]. Other percussion instruments include many [[Rattle (percussion instrument)|rattles]] and [[Shaker (instrument)|shakers]], such as the [[Kashaka|kosika]] (kashaka), [[rain stick]], bells and wood sticks. Also, Africa has lots of other types of drums, and lots of flutes, and lots of stringed and wind instruments. |
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The playing of [[polyrhythm]]s is one of the most universal characteristics of Sub-Sarahan music, in contrast to [[polyphony]] in Western music. Several uniquely designed instruments have evolved there over time to facilitate the playing of simultaneous contrasting rhythms. The [[mbira]], [[kalimba]], [[Kora (instrument)|Kora]] and dousn'gouni are examples of these instruments which organize notes not in the usual single linear order from bass to treble, but in two separated rank arrays which allows additional ease in playing [[cross rhythm]]s. The continuing influence of this principle can be seen in the [[gravi-kora]] and [[gravikord]] modern examples. |
The playing of [[polyrhythm]]s is one of the most universal characteristics of Sub-Sarahan music, in contrast to [[polyphony]] in Western music. Several uniquely designed instruments have evolved there over time to facilitate the playing of simultaneous contrasting rhythms. The [[mbira]], [[kalimba]], [[Kora (instrument)|Kora]] and dousn'gouni are examples of these instruments which organize notes not in the usual single linear order from bass to treble, but in two separated rank arrays which allows additional ease in playing [[cross rhythm]]s. The continuing influence of this principle can be seen in the [[gravi-kora]] and [[gravikord]] modern examples. |
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==Relationship to language== |
== Relationship to language == |
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Many [[Languages of Africa|languages spoken in Africa]] are [[tonal language]]s, leading to a close connection between music and language in some local cultures. These particular communities use vocal sounds and movements with their music as well. In singing, the tonal pattern or the text puts some constraints on the melodic patterns. On the other hand, in instrumental music a native speaker of a language can often perceive a text or texts in the music. This effect also forms the basis of [[drum (communication)|drum languages]] ([[talking drum]]s).<ref>''GCSE Music - Edexcel Areas of Study'', Coordination Group Publications, UK, 2006, p. 35, quoting examination board syllabus.</ref> |
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Many [[Languages of Africa|languages spoken in Africa]] are [[tonal language]]s, leading to a close connection between music and language in some local cultures. These particular communities use vocal sounds and movements with their music as well. In singing, the tonal pattern or the text puts some constraints on the melodic patterns. On the other hand, in instrumental music a native speaker of a language can often perceive a text or texts in the music. This effect also forms the basis of [[drum (communication)|drum languages]] ([[talking drum]]s).<ref>''GCSE Music – Edexcel Areas of Study'', Coordination Group Publications, UK, 2006, p. 35, quoting examination board syllabus.</ref> |
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==Influences on African music== |
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[[File:Drumming (7250728078).jpg|thumb|right|Traditional drummers in [[Ghana]].]] |
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== Influences on African music == |
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Historically, several factors have influenced the [[Traditional sub-Saharan African harmony|tribal music of Africa]]. The music has been influenced by language, the environment, a variety of cultures, politics, and population movement, all of which are intermingled. Each African tribe evolved in a different area of the continent, which means that they ate different foods, faced different weather conditions, and came in contact with different tribes than other societies did. Each tribe moved at different rates and to different places than others, and thus each was influenced by different people and circumstances. Furthermore, each society did not necessarily operate under the same government, which also significantly influenced their music styles.<ref>Nketia, J. H. Kwabena. ''The Music of Africa.'' New York: Norton and Company, 1974. Print.</ref> |
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[[File:Drumming (7250728078).jpg|thumb|right|Traditional drummers in [[Ghana]]]] |
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Historically, several factors have influenced the [[Traditional sub-Saharan African harmony|tribal music of Africa]]. The music has been influenced by language, the environment, a variety of cultures, politics, and population movement, all of which are intermingled. Each African tribe evolved in a different area of the continent, which means that they ate different foods, faced different weather conditions, and came in contact with different tribes than other societies did. Each tribe moved at different rates and to different places than others, and thus each was influenced by different people and circumstances. Furthermore, each society did not necessarily operate under the same government, which also significantly influenced their music styles.<ref>Nketia, J. H. Kwabena. ''The Music of Africa''. New York: Norton and Company, 1974. Print.</ref> |
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=== Influence on North American music === |
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{{See also|African-American music}} |
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===Influence on North American music=== |
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{{see also|African-American music}} |
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Although African American music is widely known and loved, and much popular North American music emerged from it, White American music also has strong African roots. The musical traditions of the Irish and Scottish settlers merged with African African musical elements to become [[Old-time music|old-time]] and [[Blue grass music|bluegrass]], among other genres. |
Although African American music is widely known and loved, and much popular North American music emerged from it, White American music also has strong African roots. The musical traditions of the Irish and Scottish settlers merged with African African musical elements to become [[Old-time music|old-time]] and [[Blue grass music|bluegrass]], among other genres. |
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African music has been a major factor in the shaping of what we know today as [[Dixieland]], the [[blues]] and [[jazz]]. These styles have all borrowed from African rhythms and sounds, brought over the Atlantic ocean by slaves. African music in Sub-Saharan Africa is mostly upbeat [[polyrhythm]]ic and joyful, whereas the blues should be viewed as an aesthetic development resulting from the conditions of slavery in the new world. |
African music has been a major factor in the shaping of what we know today as [[Dixieland]], the [[blues]] and [[jazz]]. These styles have all borrowed from African rhythms and sounds, brought over the Atlantic ocean by slaves. African music in Sub-Saharan Africa is mostly upbeat [[polyrhythm]]ic and joyful, whereas the blues should be viewed as an aesthetic development resulting from the conditions of slavery in the new world. |
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[[File:Traffic 1973.jpg|thumb|right|[[Steve Winwood]]'s [[progressive rock]]/[[jazz rock]] band [[Traffic (band)|Traffic]] often used West African rhythms.]] |
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[[File:Traffic 1973.jpg|thumb|right|[[Steve Winwood|Steve Winwood's]] [[progressive rock]]/[[jazz rock]] band [[Traffic (band)|Traffic]] often used West African rhythms]] |
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On his album ''[[Graceland (album)|Graceland]]'', the American folk musician [[Paul Simon]] employs African bands, rhythms and melodies as a musical backdrop for his own lyrics; especially [[Ladysmith Black Mambazo]]. In the early 1970s, [[Remi Kabaka]], an [[Afro-rock]] avant-garde drummer, laid the initial drum patterns that created the Afro-rock sounds in bands such as [[Ginger Baker]]'s [[Ginger Baker's Air Force|Airforce]], [[The Rolling Stones]], and [[Steve Winwood]]'s [[Traffic (band)|Traffic]]. He continued to work with Winwood, [[Paul McCartney]], and [[Mick Jagger]] throughout the decade.<ref>Azam, O. A. (1993), [http://azam.org/archives/geocities/www.geocities.com/omarazam/papers/afrMusic.htm "The recent influence of African Music on the American music scene and music market".]</ref> |
On his album ''[[Graceland (album)|Graceland]]'', the American folk musician [[Paul Simon]] employs African bands, rhythms and melodies as a musical backdrop for his own lyrics; especially [[Ladysmith Black Mambazo]]. In the early 1970s, [[Remi Kabaka]], an [[Afro-rock]] avant-garde drummer, laid the initial drum patterns that created the Afro-rock sounds in bands such as [[Ginger Baker]]'s [[Ginger Baker's Air Force|Airforce]], [[The Rolling Stones]], and [[Steve Winwood]]'s [[Traffic (band)|Traffic]]. He continued to work with Winwood, [[Paul McCartney]], and [[Mick Jagger]] throughout the decade.<ref>Azam, O. A. (1993), [http://azam.org/archives/geocities/www.geocities.com/omarazam/papers/afrMusic.htm "The recent influence of African Music on the American music scene and music market".]</ref> |
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Certain Sub-Saharan African musical traditions also had a significant influence on such well-known works as Disney's ''[[The Lion King]]'' and ''[[The Lion King II: Simba's Pride]]'', which blend traditional tribal music with Western music. Songs such as "[[Circle of Life]]" and "[[He Lives in You]]" combine of [[Zulu language|Zulu]] and English lyrics, as well as traditional African styles of music with more modern western styles. Additionally, the Disney classic incorporates numerous words from the [[Bantu languages|Bantu]] [[Swahili language]]. The phrase ''hakuna matata'', for example, is an actual Swahili phrase that does in fact mean "no worries". Characters such as [[Simba]], Kovu, and Zira are also Swahili words, meaning "lion", "scar", and "hate", respectively.<ref>"The Characters." ''Lion King Pride.'' 2008. Disney, |
Certain Sub-Saharan African musical traditions also had a significant influence on such well-known works as Disney's ''[[The Lion King]]'' and ''[[The Lion King II: Simba's Pride]]'', which blend traditional tribal music with Western music. Songs such as "[[Circle of Life]]" and "[[He Lives in You]]" combine of [[Zulu language|Zulu]] and English lyrics, as well as traditional African styles of music with more modern western styles. Additionally, the Disney classic incorporates numerous words from the [[Bantu languages|Bantu]] [[Swahili language]]. The phrase ''hakuna matata'', for example, is an actual Swahili phrase that does in fact mean "no worries". Characters such as [[Simba]], Kovu, and Zira are also Swahili words, meaning "lion", "scar", and "hate", respectively.<ref>"The Characters." ''Lion King Pride.'' 2008. Disney, 1997–2008. Web. 1 February 2010.</ref><ref>{{cite web|url=http://www.lionking.org/characters/TLK_Character_List.html |title=The Lion King Pride: The Characters |publisher=Lionking.org | access-date=3 March 2016}}</ref> |
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Babatunde Olatunji, Miriam Makeba, and Hugh Masakela were among the earliest African performing artists to develop sizable fan bases in the United States. |
Babatunde Olatunji, Miriam Makeba, and Hugh Masakela were among the earliest African performing artists to develop sizable fan bases in the United States. Non-commercial African American radio stations promoted African music as part of their cultural and political missions in the 1960s and 1970s. African music also found eager audiences at Historically Black colleges and universities (HBCUs) and appealed particularly to activists in the civil rights and Black Power movements.<ref>[https://www.academia.edu/19649475/African_Sounds_in_the_American_South_Community_Radio_Historically_Black_Colleges_and_Musical_Pan-Africanism "African Sounds in the American South: Community Radio, Historically Black Colleges, and Musical Pan Africanism,"] The Journal of Popular Music Studies, December 2015</ref> |
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==Popular music== |
== Popular music == |
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{{Main|African popular music}} |
{{Main|African popular music}} |
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[[File:Miriam Makeba 2011.jpg|thumb|right|[[Miriam Makeba]] during a performance]] |
[[File:Miriam Makeba 2011.jpg|thumb|right|[[Miriam Makeba]] during a performance]] |
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African popular music, like [[Traditional sub-Saharan African harmony|African traditional music]], is vast and varied. Most contemporary genres of African popular music build on cross-pollination with western popular music, Many [[List of popular music genres|genres of popular music]], including [[blues]], [[jazz]] and [[African Rumba|rumba]], derive to varying degrees from musical traditions from Africa, taken to the Americas by enslaved Africans. These rhythms and sounds have subsequently been adapted by newer genres like [[Rock music|rock]] and [[rhythm and blues]]. Similarly, African popular music has adopted elements, particularly the musical instruments and [[recording studio]] techniques of western music. |
African popular music, like [[Traditional sub-Saharan African harmony|African traditional music]], is vast and varied. Most contemporary genres of African popular music build on cross-pollination with western popular music, Many [[List of popular music genres|genres of popular music]], including [[blues]], [[jazz]] and [[African Rumba|rumba]], derive to varying degrees from musical traditions from Africa, taken to the Americas by enslaved Africans. These rhythms and sounds have subsequently been adapted by newer genres like [[Rock music|rock]] and [[rhythm and blues]]. Similarly, African popular music has adopted elements, particularly the musical instruments and [[recording studio]] techniques of western music. |
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One of the most important 20th century singers of South African popular music |
One of the most important 20th century singers of South African popular music was [[Miriam Makeba]], who played a key-role, in the 60s, in drawing global audience's attention to African music and its meaning. |
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The Afro-Euro hybrid style, the Cuban [[son (music)|son]], has had an influence on certain popular music in Africa. Some of the first guitar bands on the continent played covers of Cuban songs.<ref name="ReferenceA">Roberts, John Storm (1986: cassette) ''Afro-Cuban Comes Home: The Birth and Growth of Congo Music'', Original Music.</ref> The early guitar-based bands from the [[Congo Basin|Congo]] called their music ''rumba'' (although it was son rather than rumba-based). The Congolese style eventually evolved into what became known as [[soukous]]. |
The Afro-Euro hybrid style, the Cuban [[son (music)|son]], has had an influence on certain popular music in Africa. Some of the first guitar bands on the continent played covers of Cuban songs.<ref name="ReferenceA">Roberts, John Storm (1986: cassette) ''Afro-Cuban Comes Home: The Birth and Growth of Congo Music'', Original Music.</ref> The early guitar-based bands from the [[Congo Basin|Congo]] called their music ''rumba'' (although it was son rather than rumba-based). The Congolese style eventually evolved into what became known as [[soukous]]. |
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== Music Industry == |
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{{Portal|Africa|Music|Culture}} |
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For African artists concerts were the one of the fews ways to earn in the industry. Piracy and changing consumer behavior are behind declining sales of records. Enforcement of copyright law remains weak in Africa. MusikBi is the first legal music download website of Africa. It does not offer streaming and is limited by internet speeds in Africa.<ref>{{Cite news |
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{{div col|colwidth=30em}} |
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| url = http://www.theguardian.com/music/2016/feb/24/africas-first-music-download-service-launches-in-senegal |
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* [[Traditional sub-Saharan African harmony]] |
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| title = Africa's first music download service launches in Senegal |
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| last = France-Presse |
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| first = Agence |
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| date = 24 February 2016 |
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| newspaper = The Guardian |
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| language = en-GB |
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| issn = 0261-3077 |
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| access-date = 1 March 2016 |
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}}</ref> African countries (Kenya, Gambia and South Africa) have seen protest over airtime given to American music. In Zimbabwe 75% of airtime has to be given to local music. Protective actions have seen the growth of new genres like [[Music of Zimbabwe|Urban Grooves]] emerge in Zimbabwe.<ref>{{cite web |
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| url = http://musicinafrica.net/south-african-artists-fume-over-lack-radio-airplay |
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| title = South African artists fume over lack of radio airplay |
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| publisher = musicinafrica.net |
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| access-date = 1 March 2016 |
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}}</ref> In 2016 Sony Music launched in Africa by opening an office in Nigeria, traditionally services of western major international studios have not been available in Africa. The local demand for their music being met through piracy.<ref>{{cite web |
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| url = http://www.billboard.com/articles/business/6890795/sony-music-lagos-nigeria-office |
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| title = Sony Music's New Office in Africa Signals a Promising Near-Future for the Continent |
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| website = Billboard |
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| access-date = 1 March 2016 |
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}}</ref> |
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== See also == |
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{{div col|colwidth=23em}} |
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* [[African heavy metal]] |
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* [[African popular music]] |
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* [[Victor Kofi Agawu]] |
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* [[Paul Berliner (ethnomusicologist)|Paul Berliner]] |
* [[Paul Berliner (ethnomusicologist)|Paul Berliner]] |
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* [[ |
* [[Clave (rhythm)]] |
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* [[Hugh Tracey]] |
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* [[International Library of African Music]] |
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* [[Polyrhythm]] |
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* [[Gravikord]] |
* [[Gravikord]] |
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* [[International Library of African Music]] |
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* [[Arthur Morris Jones]] |
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* [[Ashenafi Kebede]] |
* [[Ashenafi Kebede]] |
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* [[ |
* [[Gerhard Kubik]] |
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* [[African heavy metal]] |
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* [[List of African guitarists]] |
* [[List of African guitarists]] |
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* [[Clave (rhythm)]] |
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* [[Victor Kofi Agawu]] |
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* [[Arthur Morris Jones]] |
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* [[Mine bengidzakiwe]] |
* [[Mine bengidzakiwe]] |
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* [[Polyrhythm]] |
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* [[Hugh Tracey]] |
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* [[Traditional sub-Saharan African harmony]] |
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* [[World music]] |
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{{div col end}} |
{{div col end}} |
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{{Portal bar|Africa|Culture|Music}} |
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==References== |
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{{reflist|2}} |
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== |
== References == |
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*Joshua Clark Davis, [https://www.academia.edu/19649475/African_Sounds_in_the_American_South_Community_Radio_Historically_Black_Colleges_and_Musical_Pan-Africanism "African Sounds in the American South: Community Radio, Historically Black Colleges, and Musical Pan Africanism,"] The Journal of Popular Music Studies, December 2015 |
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*Graeme Ewens. ''Africa O-Yé: a Celebration of African Music''. 1992, cop. 1991. New York: Da Capo Press. ISBN 0-306-80461-1 |
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*Ruth M. Stone, ed. ''The Garland handbook of African Music'' 2nd ed., 2008. NY & Oxford: Routledge. ISBN 978041596102-8 (Abridged paperback edition of vol."Africa", vol. 1 of ''The Garland Encyclopedia of World Music'' with additional articles) |
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{{Reflist|30em}} |
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==External links== |
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* [http://trumpet.sdsu.edu/M345/Knowledge_Webs/4African_MusicY/African_music.htm African Music] |
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== Further reading == |
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*[http://www.kubatana.net/html/archive/artcul/030521music.asp?sector=ARTCUL Glossary of African music styles] |
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*[http://www.ru.ac.za/library/services/researchinstitutelibraries/ilam International Library of African Music] at [[Rhodes University]] |
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* Joshua Clark Davis, [https://www.academia.edu/19649475/African_Sounds_in_the_American_South_Community_Radio_Historically_Black_Colleges_and_Musical_Pan-Africanism "African Sounds in the American South: Community Radio, Historically Black Colleges, and Musical Pan Africanism,"] The Journal of Popular Music Studies, December 2015 |
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* Graeme Ewens. ''Africa O-Yé: a Celebration of African Music''. 1992, cop. 1991. New York: Da Capo Press. ISBN 0-306-80461-1 |
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* Ruth M. Stone, ed. ''The Garland handbook of African Music'' 2nd ed., 2008. NY & Oxford: Routledge. ISBN 978-0-415-96102-8 (Abridged paperback edition of vol."Africa", vol. 1 of ''The Garland Encyclopedia of World Music'' with additional articles) |
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* [http://www.bbc.co.uk/worldservice/africa/features/rhythms/index.shtml Rhythms of the Continent] from the [[BBC]] |
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* [http://www.ru.ac.za/ilam/ International Library of African Music] at [[Rhodes University]] |
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* [http://sounds.bl.uk/World-and-traditional-music/ Recordings of African music from the British Library's collections] |
* [http://sounds.bl.uk/World-and-traditional-music/ Recordings of African music from the British Library's collections] |
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* [http://bbc.net.uk/worldservice/africa/features/rhythms/index.shtml Rhythms of the Continent] from the [[BBC]] |
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== External links == |
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{{Div col|colwidth=30em}} |
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* [http://archive.kubatana.net/html/archive/artcul/030521music.asp?sector=ARTCUL Glossary of African music styles] |
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* [http://imslp.org/wiki/User:Clark_Kimberling/Historical_Notes_11 Historical Notes on African Melodies] |
* [http://imslp.org/wiki/User:Clark_Kimberling/Historical_Notes_11 Historical Notes on African Melodies] |
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* {{dmoz|Regional/Africa/Arts_and_Entertainment/Music}} |
* {{dmoz|Regional/Africa/Arts_and_Entertainment/Music}} |
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* [http://ias.umn.edu/2012/10/11/skinner-ryan/ Lecture on music and politics in contemporary Mali] |
* [http://ias.umn.edu/2012/10/11/skinner-ryan/ Lecture on music and politics in contemporary Mali] |
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{{Div col end}} |
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{{Africa in topic|Music of}} |
{{Africa in topic|Music of}} |
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{{Genres of African popular music}} |
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{{Africa topics}} |
{{Africa topics}} |
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{{Genres of African popular music}} |
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{{authority control}} |
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[[Category:African music]] |
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{{DEFAULTSORT:Music Of Africa}} |
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[[Category:African music| ]] |
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[[Category:Articles in Wikipedia Primary School Project SSAJRP]] |
[[Category:Articles in Wikipedia Primary School Project SSAJRP]] |