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African drum made by Gerald Achee Drummers in Accra, Ghana. Sub-Saharan African music is characterised by a "strong rhythmic interest" [1] that exhibits common characteristics in all regions of this vast territory, so that Arthur Morris Jones (1889–1980) has described the many local approaches as constituting one main system. [2] C. K.
Zimbabwean jazz, also known as Afro Jazz, is Zimbabwean music influenced by a style of township rhythm that evolved in a Southern part of Africa over the last century. One can also trace similarities from Kwela, a pennywhistle -based, street music from the southern part of Africa with jazzy underpinnings and a distinctive, skiffle-like beat.
These styles have all borrowed from African rhythms and sounds, brought over the Atlantic Ocean by enslaved Africans. African music in Sub-Saharan Africa is mostly upbeat polyrhythmic and joyful, whereas the blues should be viewed as an aesthetic development resulting from the conditions of slavery in the new world. [19]
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).
Three-over-eight (3:8) is one of the most metrically contradictive, and extraordinarily dynamic cross-rhythms found in African music. Within the context of a single four-beat cycle (single measure or musical period), the cross-rhythmic ratio is 1.5:4. The three cross-beats, spanning 24 pulses, are represented as whole-notes below for visual ...
Zimbabwean Jazz, also known as Afro Jazz was developed in the 20th century. Its history can be traced from its early colonial era. Its history can be traced from its early colonial era. It was influenced by a style of township rhythm that evolved in a southern part of Africa over the 20th century. [ 1 ]
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Ewe music is the music of the Ewe people of Togo, Ghana, and Benin, West Africa. Instrumentation is primarily percussive and rhythmically the music features great metrical complexity. Its highest form is in dance music including a drum orchestra, but there are also work (e.g. the fishing songs of the Anlo migrants [ 1 ] ), play, and other songs .