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The music of West Africa must be considered under two main headings: in its northernmost and westernmost parts, many of the above-mentioned transnational sub-Saharan ethnic influences are found among the Hausa, the Fulani, the Wolof people, the Mande speakers of Mali, Senegal and Mauritania, the Gur-speaking peoples of Mali, Burkina Faso and ...
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
Isicathamiya (Zulu pronunciation: [isikǀatʰamija], where the c represents a tenuis dental click) is a singing style that originated from the Zulu people, a South African ethnic group. In European understanding, a cappella is also used to describe this form of singing.
Harmonization of the melody is accomplished by singing in parallel thirds, fourths, or fifths. Music is an integral part of communal life in Africa. [4] African music is made for both public enjoyment and public participation, and it is this social bonding over music that informed Christopher Small's idea of musicking. [5]
Music is an important part of Pygmy life, and casual performances take place during many of the day's events. Music comes in many forms, including the spiritual likanos stories, vocable singing and music played from a variety of instruments including the bow harp (ieta), ngombi (harp zither) and limbindi (a string bow).
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The song was sung by working miners in time with the rhythm of swinging their axes to dig. It was usually sung under hardship in call and response style (one man singing a solo line and the rest of the group responding by copying him). [1] It was also sung by prisoners in call and response style using alto and soprano parts divided by row.
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