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In many parts of sub-Saharan Africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. Traditional African music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. [1]
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).
Sub-Saharan African music traditions frequently rely on percussion instruments of many varieties, including xylophones, djembes, drums, and tone-producing instruments such as the mbira or "thumb piano." [2] [3]
Retrieved from "https://en.wikipedia.org/w/index.php?title=List_of_Sub-Saharan_African_folk_music_traditions&oldid=430170339"
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. Ladzekpo also affirms the profound homogeneity of approach. [3]
Traditional Sub-Saharan African music is as diverse as the region's various populations. The common perception of Sub-Saharan African music is that it is rhythmic music centered on the drums, and indeed, a large part of Sub-Saharan music, mainly among speakers of Niger–Congo and Nilo-Saharan languages, is
Now practiced in North Africa in the form of the Andalusi nubah, [12] this tradition has also had considerable effect on Ottoman classical music, especially in the Sephardic romance and Maftirim repertoire. [13] Ottoman classical music: At least 3rd century AD (as Persian traditional music), emerged as a unique tradition in the 17th century. [9 ...
The most fundamental cross-rhythm in Ewe music, and Sub-Saharan African music traditions in general, is three-against-two (3:2), or six-against-four (6:4), also known as a vertical hemiola. The cycle of two or four beats are the main beat scheme, while the triple beat scheme is secondary.