Guide for Review

A list of terms and concepts to be familiar with; this list is not exclusive and you should study
the slides and the chapters made availible as well.

Monophonic
Polyphonic
Heterophonic
Homophonic
Antecedent
Consequent
Texture
Timbre
Enculturation
Agbekor
Ewe people
Polyrhythm
2:3
Repetition
Gankogui
Ostinato
Beat
Tempo
Axatse
Kaganu
Drum language
Exchange of voices
Talking drum
Call-and-response
Mande people
Lambango
Griot
Jalolu/jail/jaliya
Mali
Praise singers
Kora
Lunga
Gung-gong
Melisma
Dagbon
Shona
Mbira
Shona spirits
Nhemamusasa
Vocables
Yodeling
Rhythm
Melody
BaAka people
Makala
Mabo
Eboka
Theme
Hymns
Lining out
Stanzas
Gospel
Chanting
Whooping/shouts
Work song
Improvisation
Blues
Music of play
Oral literature
Blues form
Blues scale
Non-western sense of
pitch
Three-line stanza form
Quatrain-refrain form
Mistreatment
Downhome blues
Delta blues
Urban blues
Chicago Blues
Quichua
Nueva Concion
Sesquialtera
Counterpoint
Metaphor
Zampona
Kantu
Arca
Ira
Hocketing
Sanjuan
Isorhythm
Harp
Balance
Chota River Valley
Waynos
Wawa Velorio
Vaccacion
Lando
Quijada
Unison
Parallel motion



















Please be familiar with the recordings form the slides. You should be familiar with the relevant
cultural, musical, instrumental concepts surrounding each piece. In particular pay special
attention to the following specific pieces:

Postal workers canceling stamps in Ghana (Unintended music)
http://www.youtube.com/watch?v=por5SopwHDc

Agbekor dance of the Ewe people (Polyrhtym)
https://www.youtube.com/watch?v=kf-yMrhuBvw

Lambongo of the Mande People
https://www.youtube.com/watch?v=tGwlS3TiDh8

Nheumamusasa of the Shona people
http://www.youtube.com/watch?v=flZmSiY5W_8

Makala of the BaAka people
http://www.youtube.com/watch?v=M7ZjJ9dVrHg

Ghana Freedom by ET Mensah & the Tempos
https://www.youtube.com/watch?v=9m1TaPgQ14k

Amazing Grace
https://www.youtube.com/watch?v=3h8koTbNu_U

The work song Rosie
http://www.youtube.com/watch?v=fjv0MYIFYsg&list=PLahcs8ujfzqd787i_0Z1gPinaTQCmhlGu

The field holler
http://www.youtube.com/watch?v=vryztcneg0M

Poor boy blues
http://www.youtube.com/watch?v=IjzEq4xowu8

She got me walkin
http://www.youtube.com/watch?v=-_-5B0B-laQ&list=WL6C2A713CC3DBF7F1

kokomo blues by Fred McDowell
http://www.youtube.com/watch?v=bdFo046j49c&list=WL6C2A713CC3DBF7F1

Dont you think I love you by Joe king Oliver
https://www.youtube.com/watch?v=3UAVUqdhvwI

aint that a shame by Fats Domino
http://www.youtube.com/watch?v=xbfMlk1PwGU

El aparecido by Victor Jara
https://www.youtube.com/watch?v=A8bpok8icAY&list=WL6C2A713CC3DBF7F1

Kutirimunapaq of the Kallawaya people
http://www.youtube.com/watch?v=X-FpmFNlens&list=WL6C2A713CC3DBF7F1

the sanjuan Muyu Muyari Warmigu of the Quichua people
https://www.youtube.com/watch?v=EuVrBq9RSoU

the sanjuan Iluman tiyu
http://www.youtube.com/watch?v=ipkf83mnO_Y&list=WL6C2A713CC3DBF7F1

Me gust Leche by the Congo brothers
http://www.youtube.com/watch?v=krHbAtffNVs

The vacacion tiled vacacion
http://www.youtube.com/watch?v=-vjFsRztB2U

Toro barroso by Don Cesar Muquinche
http://www.youtube.com/watch?v=67RvUbvhDzE



POLYRHYTM (sama 4/4,tempo beda. Dalam 1 bar, voice 1: do re mi fa, voice 2: do re mi fa so,
tiap slesai 1 bar pasti ktemu bareng do)
POLYMETER (sama 4/4 , tempo sama tapi voice 1: do re mi fa so dan voice 2: do re mi fa, nanti
stelah 20 beat baru ketemu sama beat)

General Characteristics of African Music
Polyrhythm - simplest and most common example is 2:3 (2 against 3)
syncopation - accented off-beats
Response forms call-and-response, solo and chorus, an obvious form of exchange of
voices concept
repetition/patterns/ostinato(i) - repeating patterns providing a foundation for variation
and improvisation above
Non-Western systems of pitch a system of pitch that does not fit within the standard
western system
Percussion heavy use of struck instruments
Background Shimmer - augmentation to instruments to create buzzing or rattling (with
beads, coins, paper, metal)
connection to language - most African music involves song, and even instrumental pieces
are thought of as songs, an exchange of voices
participatory - music is something everyone does, though some may possess more talent;
no gulf separates performer from audience


Origin of Agbekor early (atamuga) the great oath; now agbe = life, kor = clear
For war dance, preparation and celebration of victory
Instruments: The double bell gankogui, The axatse (beat shaker), The Kaganu
(syncopation drum), Kidi, kloboto, totodzi (intonation strokes drums)
Content:
o song 1
Text - prepare for Agbekor
intonation - the second scale degree (pitch) - sometimes
natural/sometimes flat, often in between
o song 2
Texts about the looming battle, be cunning
intonation - pentatonic
Ew
e
Mande
Sho
na
Baak
a
o song 3
Texts exalting self and denigrating the opponent
pentatonic
o Free rhythm songs Song 4
Compares the group strength to the ocean
o Fast-paced songs Song 5
texts full of heroic passion

Griot(s) Experts in speech, song, and the playing of instruments they are more than just
musicians they are guardians of history. (Mande people, the music is Lambango)
Mali was wealthy, cosmopolitan, educationally advanced, and fostered a culture of literati. The
function of the Jali was to serve these wealthy benefactors.

Jalolu professional artisans of the Mande, who Jaliya, an important cultural practice dating
back to the 13
th
century.
He is a free born (horon) servant of the upper-class/non-craftsmen (sula)
He serves to entertain and praise his patron and takes great pride in
sharing in that praise
He was well respected for the skills he possessed as a keeper of history
and myth

This is an apprenticed skill: for men, usually focusing on one particular instrument, often a kora
or balo; as singers, young women have a more informal apprenticeship.

Kora this is the primary instrument of Jaliya, it is an indigenous instrument of Africa.
(chordophone)


Nag Biegu (ferocious wild bull)
This is music of the Dagbamba people from the southern Savana of west Africa
Lunsi (lunga) a hereditary clan of drummers, they chronicle history
gung-gong cylindrical, with a snare on each head (drums)
Lunga hourglass shape, with leather chords around the outside attached to the drum
heads. This can change the pitch of the drum head and closely imitate language. (talking
drum)
Nheumamusasa (cutting branches for shelter, played using Mbira thumb piano)
Shona people live between the Zambezi and the Limpopo rivers, speaking Bantu
society dating back to 800c.e.
Spirits (mhondoro, mudzimu, mashave, muroyi) they feel emotion and help advise
their descendants
Trances possession by a spirit of a musician, by which humans are able to
communicate with the spirits, usually at mapira: an all-night, family ritual.
Played for Chaminuka powerful spirit who protects the entire nation

BaAka people forest people
Their way of life is threatened by colonialism, industrialization, modernity, war
Three western perspectives on these people according to Titon
1. Primal Eden an innocence lost to our modern world, they living a kind
idyllic utopia
2. Primitive savage they are unversed in the achievements of civilization
3. Unique culture small scale social institutions based on equality, but
not without real world problems, such as disease, hunger, and violence
Nueva Cancin (new song)
Nueva Cancion is movement that developed in Chile and Argentina in the 1960s. It
spans a period of over 30 years.
many of the singers were involved in the political struggles of this time, oppressed by
regimes that wiped out so much of a generation.
It is not protest song in the sense that the musicians were not part of a political party.
Instead, it is characterized by people endorsing their own culture in the face of
oppression. It was unified by a commitment to improve conditions for the majority of
people in Latin America.
It is a kind of folk or folk adapted music. It is credited for having helped fuel the
revolutions in several Latin American countries and other Latin countries around the
world. It is a kind of Revolutionary music.
It came first from the southern tip of South America, from Chile in the 1950s and 60s.

Violeta Parra and Atahualpa Yupanqui (musicians)
Both individuals were intensely interested in reviving a preserving traditional Latin
American culture, traveling around Chile and Argentina collecting and documenting folk
songs and folk instruments found among the payadores improvising poets.
Parra was known both for collecting songs, as well as writing new songs based on the
payadores traditions. Her songs focused on the peasants, the farmers, and the migrants.
She is also credited for being one of the first to use traditional Andean/Amerindian
instruments in her songs. Including the charango (armadillo guitar), the quena (wooden
flute), and the panpipes.
She is sometimes credited with making these songs a social commentary on the
peoples problems. These songs explore the exploitation of people. (Manz 2005, 27)
Even her love songs focus on poverty and injustice.
She was an artist with many talents beyond music and she immersed herself in the
culture of Chile.
Like other artists in this movement, her interest in this culture caused her to reproduce
authentic styles and utilize authentic traditional instruments but while focusing on
contemporary subject matter.
Qu dir el Santo Padre? (her song has the use of ironic satire to reflect on and resist
oppression and suffering. Its about pope in Rome, his people suffering in latin america)

Victor Jara (musician)
In 1962 at a meeting of The Journalists circle the musical manifesto known as nuevo
concinero was drafted agreeing to re-evaluate indigenous song forms and to be
the voice of the people.
Jara was born into a rural family living in one of the many shanty towns outside Santiago.
His father died and he learned traditional singing from his mother.
Early on he got his start singing in Pea de los Parra, run and owned by the two children
of Violeta Para.
Early on in his adult career his songs were banned. Songs like Preguntas por Puerto
Montt, which accused the Minster of the interior of the massacre of poor landless
peasants in South Chile.
El aparecido his song. (this recording features the ensemble Inti Illimani the band
group) It reflects the revolutionary mood of 1967 and is dedicated to the prominent
revolutionary Che Guevara.
The use of metaphor is very important in the songs of Victor Jara (a metaphor asserts
that one thing is like another thing through direct comparison or personification). In this
case it portrays Che Guevara as a legendary outlaw, a common theme in Latin America.
This piece uses a traditional Chilean Rhythm called cueca, which mixes meters of 3,
simple triple, and 6, compound duple. This is called sesquialtera, a traditional feature
of Latin American Music
Tonally this song mixes aspects from both major and minor scales (see chapter 1), this is
common theme in this region of the Andes Mountains.

Inti Illimani (The group)
This group was highly influenced by Victor Jara
They often wear the traditional peasant ponchos
They use traditional Andean instruments, instruments of communities that had
managed somehow to survive slavery, resist colonialism and its aftermath.
In 1973 they traveled to Europe as Ambassadors of the government of Salvador
Allende, to ask for aid in against US blockades and CIA activity. While they were
abroad Allende was overthrown and they were forced in exile until Chiles
independence in 1988. The added significance of this exile is that during this
time they toured the world acquiring new musical influences and instruments
which they incorporated into their music and brought back to Chile.
They joke that they were on a three week tour that lasted 15 years.

The music of Nueva Concion focuses on social change but through the rejection of imposed
modern and foreign culture and in defense of indigenous cultural traditions, symbolic of the
people.
This is shown in the texts of the songs in combination with traditional
instruments and musical forms.
In 1973 Salvador Allende was overthrown by his general Augusto Pinochet in a
military coup. The coup was in part facilitated by the US, who did not support
Allendes socialist government as well as open support of other communist and
socialist governments in the region.
Immediately Pinochet removed people who had openly supported Allendes
government.
Victor Jara himself was a victim of the 1973 coup in Chile, taken to the
downtown stadium where he had performed to th ousands, was tortured and
shot for writing songs about social justice and peace.
Many musicians like Jara were killed, imprisoned, or exiled.
However through their music they brought attention to the social cause.
After the coup much of this music was prohibited and banned as well as many
traditional instruments. This was an act of suppressing the liberal political views
of this music.
Kutirimunapaq and traditional music of the Kallawaya people
This is a kind of ceremonial panpipe music called kantu, common in the high planes of
Peru-Bolivia.
This piece is music of the Kallawaya people who live on the eastern slope of the Bolivian
Andes near the Peruvian boarder. The word Kutirimunapaq means so that we can
return in the language of Quechua, which is the traditional language of the Kallawaya.
The campesinos, or famers, live high in the mountains. They play the zampoa during
the dry season and transverse flutes during the rainy season, perhaps in the belief that
the transverse flute helps create prime conditions for growth of new crops.
These musical ensembles can comprise between 20 to 30 flute players who also add
drums (a wankara), and triangle to the musical texture
This piece comes from the Niokorin community, living at 11,000 feet.
Here they speak the Quichua language, the official language of the Incas from 1200
1533 c.e.
Zampoa the native name for panpipes
each has a named pair of pipes, double pipes, the ira represents the male principle (set
of voices) and the arca represents the female principle
Form
o The piece has an ABC form, where each section is repeated
o The entire piece is played three times, creating a very balanced structure
o This continuous flow of music and repetition is ideal for accompanying dance
Tonal structures
o The melody is played often in parallel, either at the octave or at the interval of a
fourth or fifth. This means the same melody is played at these different pitch
levels at the same time, giving the music its distinctive homophonic sound. This
practice is found in other cultures throughout the world including European
music of the mediaeval age.
o The melody of the piece is produced through a procedure called hocketing. This
is the practice of passing the melody between voices or instruments, such that
when one is playing the other is not. It bounces the melody back and forth
between parts. This a very communal way of making music. This practice is also
found in other cultures throughout the world.
o This hocketing is actually demanded by the very construction of the panpipes.
Because of the tuning of the two rows of pipes, players must switch back and
forth in order to complete a melody. Furthermore, in the case of fast melodic
passages this can only be accomplished with more than one player.
o This kantu contains primarily five notes, making it pentatonic.

Muyu muyari warmigu (please return dear woman)
Sanjuan, a term coming from the 1860s, referring originally to a type of song or dance
performed at the festival of St. John.
The instrument most commonly used to perform Sanjuan is the harp. This harp does not
have any pedals and therefore can only be tuned to one particular scale. This instrument
was brought by European Jesuit missionaries, but has ingratiated itself as part of the
culture to the point that people of Latin America consider it native. These harps have a
sound box to help amplify the sound.
Typically the higher strings are played with the strong hand the low strings with the
weak hand
The text is usually a double couplet: two lines immediately repeated
As we have seen with many traditions, these pieces are part of an oral tradition. Three
texts from three performances show how this music can evolve and yet remain the
same through the process of oral tradition (see Titon, pg.438).
These musicians are part of the Quichua culture. Quichua refers to a dialect spoken in
this region
This particular group lives in comunas, small clusters of houses on the slope of Mount
Cotacachi in the Imbabura.
It is a somewhat simple, agricultural life. The people live in one room homes accessible
only by footpaths and grow mainly maize as crop. This lifestyle along with the language,
style of dress, and music has remained the same for 500 years.
This common language, common style of life, and common style of dress creates a
strong sense of community
Form : isorythmic, meaning equal rhythm. Strong sense of balance, antecedent -
consequent relationship.
Tonality: balance, bimodality.

Iluman tiyu(Man of Iluman)
This piece was composed by Segundo Galo Maigua Pillajo who lives in the Imbabura
village
This is what some might call a classic sanjuan
Sanjuan songs often take the tone of a ballad; the texts express a large and somewhat
timeless story, often focusing on a character.
Again in this piece we observe a desire for balance: there are three vocal statements
and secondary melody statements; there are four interludes and four instrumental
statements, the pattern of the phrase (melodic themes) follows ABCD throughout
This piece is also isorhythmic
This is also a fine example of heterophonic music
Music of the Chota river Valley

Peruvian Wayno (Harp Music Genre)
It usually has a text of an amorous nature, a nostalgia for a lost love. Song texts with
subjects about love are quite common among traditional music of Latin America
It is similar to the sanjuan in the following ways
The use of the harp
Bimodality, the use of the minor key and its relative major.
The rhythm is played on the harp sound box
Two rhythmic motifs or themes
But has more variations, not only double couplet
Wawa Velorio (Ritual for deceased child transforming into angel, very common)
Quichua culture
The harpist Sergio is hired for a variety of events, along with his apprentice
brother and his family who provide support.
They travel on foot through the hills carrying their family harp
Sergio takes his place next to the platform which bears the casket
He begins the service by playing a vacacin
During the service sanjuans are played throughout the night for dancing.
He is accompanied by a golpeador (singer)

Vacacin (particular tune)
There is a repetitive nature to the melody, a pounding and insistent rhythm
This is tied to two special moments in the ritual; the beginning, in order to drive
out the demon and any time the focus of the service is brought to the child;
such as the adorning late in the evening or the closing of the casket at dawn.
In the late hours of the morning he plays many dance tunes as the entire
mourning partying is dancing and drinking feverishly
This musical piece always seems to accompany the movement or viewing of the
corpse.
The child is often prominently displayed, in a high place, symbolizing the
transformation into and angel and the ascent to heaven.
It is a celebration of life and the transition to heaven
Toro barroso ( a piece known as an albazo, a lively dance style piece common to the high planes
of Ecuador)
This piece is played on a larger Paraguay style harp, much larger than the Imbabura
harps.
It is performed by Don Cesar Muquinche
Here again there is a strong sense of balance, specifically in the melodic phrases.
Looking at the form:
[Intro A B] [Intro A B] (Intro C A B) (Intro C A B) [Intro A B] (Intro C A B)
Listen also to how the melodic phrases of each section are constructed in a
bilateral way, antecedent-consequent
We also see the same bimodality found in other pieces of Latin America
There is a dance like meter as well and the practice of sesquialtera (6/8 and
simultaneously)
Lando
example of Afro-Peruvian music. During the colonial period Peru was a concentration
point for Slavery.
1950s saw a conscious revival of these musics. It was initiated by intellectuals interested
in this cultural history.


Lando
Sanjuan

Toro
Barroso

Nueva
Cancin
Kantu
Kutirimunapaq
this recording is performed by Eva Ayllon, who declaims the text expressively in way
reminding us of the African naturalistic singing style
The Lando on a dance called the Landu which was brought by slaves from Angola
What of the most common instruments found in this genre is the (beatbox) cajon; this
was one of the many instruments African slaves devised to replaced those traditions
they left behind.
You hear the quijada, an animal jawbone that is played percussively
A notable African influence is the call-and-response style singing which exists between
the soloist and the chorus
You will also notice that the cajon plays the same rhythmic ostinato that was played by
the gonkogui in Agbekor, a pattern standard throughout Africa