ch3 mus100 notes cheat

ch3 mus100 notes cheat - Although from now on I will use...

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Although from now on I will use "Africa", the music discussed here and in Chapter 8 of the textbook is that of Africa south of the Sahara desert - or sub-Saharan Africa. Northern Africa shares most of its musical traits with the music of the Middle East, a link echoed in the dance, rituals, even food of that region. Sub-Saharan Africa developed its own characteristics and traits, a few of which I will highlight in this lecture. Realize, though, that there is no "African" music just as there is no "American" music; rather, there are many different musics and musical lineages, too many to cover in depth here. Perhaps a better term would be "Pan-African" music. .. Oakland actually has an (pan-) African drum ensemble that is open to all (MUE 345 African Ensemble 0 or 1 credits: Study and performance of drumming and xylophone traditions as related to African oral culture using authentic Ghanaian and Ugandan instruments). OU also offers family drum circles (which have a basis in African drumming) through the Music Preparatory division. The bulk of instruments used in traditional African music are either membranophones or idiophones. Rhythm (complex, layered, and cyclic) is the primary focus in much of the musics, although melody, as provided by pitched idiophones, other instruments, or voices, does play its part. Chordophones are also used by many African cultures, but aerophones tend to be limited to a few flutes [example 4 in the textbook], reed instruments, and the occasional horn trumpet. Of course, there are exceptions to every rule, but remember, we are looking for shared characteristics here. Polyrhythms abound - last week's 2 against 3 exercise is but one of the many polyrhythms used in African drumming. Here is an example: . You should be able to feel 2 "big beats" which can either be heard as divided into 2 or 3 beats, depending on the pattern and instrument. Along with polyrhythms are interlocking melodic patterns. These next examples both have 2 patterns which interlock; the 2 patterns meet at key points to form a 3rd melodic pattern. In the 2nd example, a third player actually plays the resulting third melodic pattern, making it easier to hear. Example 1:
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Example 2: With both rhythmic and melodic layering of patterns, the listener can choose to listen to a particular pattern, a resulting pattern from the interlocking of 2 patterns, or just to the piece as a whole. Such a complex melodic and rhythmic music leaves little room for harmony, an aspect which, indeed, plays very little role in most traditional African music. Also, as each successive pattern enters, the ear is pulled in a different direction; the feeling of pulse may change, or what was clear to the ear at the beginning is hidden, hard to hear, or transformed into something new. Traditional music, no matter what its origin, usually can be found to have ties to the rituals
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This note was uploaded on 06/29/2011 for the course FIN 322 taught by Professor Zhu during the Spring '11 term at Oakland University.

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ch3 mus100 notes cheat - Although from now on I will use...

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