Global Perspective Exam 1

Theory developed directly from data, no hypothesis

One melodic line, no accompaniment

One prominent melody supported by other parts that provide harmonic accompaniment or fill in chords. accompanying parts often move together with the melody, though they can also be more complex, as long as they don't have their own independent melodic interest

Different variations of the same rhythm

South Africa, piano-based dance music
Developed in the 1920s and 1930s by urban musicians living in the mining area townships
Influenced by North and South American music: ragtime, early jazz, son Cubano (music and dance developed in the east Cuban highlands), and Brazilian choro
Repetitive style of dance music, usually constructed around simple harmonic progressions (I, IV, & V) common to spirituals and early jazz
Indicative of reciprocal influence – African diasporic traditions in turn influencing African musicians
Early marabi was performed in illegal drinking establishments for miners returning from work
Pata Pata

South Africa, popular music featuring percussion (drum set), electric guitars, and synthesizers
Often referred to as “Township Jive”
Influenced by marabi, American rhythm & blues, and other styles of African music such as Congolese soukous
Simple harmony
Music for social dancing
Mahlathini and the Mahotella Queens "Stokfel Jive"

Unaccompanied singing in harmony
Secular choral music of the Zulu people
Developed from singing competitions and work song traditions in migrant mining camps
Inspired by Protestant hymns and African American folk songs
Performances began to be staged in the early 20th century
Ladysmith Black Mambazo “Rain, Rain, Beautiful Rain” (1987)

South African house music drawing influence from reggae, hip hop, and house; lyrics are politically oriented (and often misogynistic)
Developed in Soweto in 1980s and 90s
Influenced by house music and hip hop
Can be viewed as a creative response to limited township resources, particularly music education (early kwaito could forgo “band” instruments, rehearsal space, and formalized musical training)
Like American hip hop, associated with personal and political expression

Call and response/antiphony, Ostinato, Oral tradition, Unity within the arts, improvisation

West African Musical Master

West African Harp/Lute
Kelefaba

West Africa (Ghana)
music and dance ensemble of the Akan people; associated with important community figures (ex. political leaders or royalty)
Main instruments of the fontomfrom are the from (large barrel-shaped drum), the smaller eyuankoba and atumpan, and the metalic gongon bell

Early jùjú groups included banjo or guitar, rattling percussion, and tambourine
Harmony is influenced by Christian spirituals
Tunde King
Gángan: “talking” drum that can produce three tones derived from the Yoruba language
Asiko Mi Tio inter reformers

tonal system of arabic music

Arabic Rhythmic mode

improvised passage in Arabic music

type of Arabic music ensemble featuring several classical Arabic instruments
Simon Shaheen “Taqasim”
Simon Shaheen “Longa Farahfaza”

Samba: originated in the Congo-Angola basin; comes from the Bantu word “semba;” performed in parades, concerts, ceremonies, and in the streets
Capoeira: originated in the Congo-Angola basin; consists of difficult physical movements that keep the “dancers” in physical shape and prepared for combat)

Modern samba can include anything from batería (drum ensemble) to pop bands
Most modern sambas will include these rhythmic features:
Surdo (or bass drum) on beat 3
Steady 8th notes on Ganzá (or high-hat or ride cymbal)

Slower version of the samba
Blended traditional samba percussion patterns with American jazz

Party music from the Nordesté (Northeast) region of Brazil
Traditional instrumentation is accordion, triangle, and zabumba (bass drum)
Lyrics traditionally depict the good and bad aspects of daily life
Forró performances are usually linked to social dancing