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The nyatiti is a five to eight-stringed plucked bowl yoke lute from Kenya. It is a classical instrument played by the Luo people of Western Kenya, specifically in the Siaya region south of Kisumu. It is about two to three feet long with a bowl-shaped, carved wood resonator covered in cow skin.
The Luo had a strong tradition of stringed instruments and was famous for their skills with harps and lyres. [1] When played with a bow, the orutu creates different notes determined by finger pressure against the central stick. [2] Although this musical instrument is played a bit like a violin, it has a different, unique sound to it. It is ...
The following is a list of musical instruments from the Africa continent as well as their countries or regions of origin. A ... (Kenya) Nyele (Zambia) O. Obokano (Kenya)
The word benga is occasionally used to refer to any kind of pop music: bass, guitar and percussion are the usual instruments. Partially from 1994 and wholly from 2003 Kenyan popular music has been recognised through the Kisima Music Awards. A number of styles predominate in Kenya including Benga and Reggae have separate categories, and a ...
This list contains musical instruments of symbolic or cultural importance within a nation, state, ethnicity, tribe or other group of people.. In some cases, national instruments remain in wide use within the nation (such as the Puerto Rican cuatro), but in others, their importance is primarily symbolic (such as the Welsh triple harp).
Instruments commonly used as unpitched and/or untuned percussion. Instruments commonly part of the percussion section of a band or orchestra. These three groups overlap heavily, but inclusion in any one is sufficient for an instrument to be included in this list. However, when only a specific subtype of the instrument qualifies as a percussion ...
Self-described "culture bearer" [7] Jacqueline Cogdell DjeDje of the University of California, Los Angeles [2] broke new ground in ethnomusicology with her study of "fiddle" music of the Luo of Kenya. Citing Kwame Anthony Appiah, she rejects "nativist nostalgia . . . largely fueled by that Western sentimentalism so familiar after Rousseau". [8]