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Two water drums. Water drums are a category of membranophone characterized by the filling of the drum chamber with some amount of water to create a unique resonant sound. Water drums are used all over the world, but are found most prominently in a ceremonial as well as social role in the Indigenous music of North America, as well as in African music.
Pygmy music refers to the sub-Saharan African music traditions of the Central African foragers (or "Pygmies"), predominantly in the Congo, the Central African Republic and Cameroon. Pygmy groups include the Bayaka, the Mbuti, and the Batwa. Music is an important part of Pygmy life, and casual performances take place during many of the day's events.
In African music, the calabash is a percussion instrument of the family of idiophones consisting of a half of a large calabash gourd, which is struck with the palms, fingers, wrist or objects to produce a variety of percussive sounds. [1] In Tuareg music, the askalabo [2] is a calabash "partly submerged in water, drummed to mimic camels' hooves ...
Olatunji was a music educator, and invented a method of teaching and recording drum patterns which he called the "Gun-Dun, Go-Do, Pa-Ta" method after the different sounds made on the drum. He taught drum and dance workshops year-round starting in the late 1950s.
Udu Music. An Udu percussion pot Sound of plastic, or fiberglass Udu. The kim-kim or Udu is a plosive aerophone (in this case implosive) and an idiophone of the Igbo of Nigeria. In the Igbo language, ùdù means 'vessel' or 'pot'. [1] This is a hand percussion instrument and it is one of the most important instruments in Igbo music.
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.
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[87] [88] [89] The record, a fusion of ndombolo and Congolese rumba, achieved immense popularity in Africa, earning Werrason two consecutive Kora Awards, for Best Male Artist of Africa and Best Male Artist of Central Africa, in the same year. [90] [91] On 22 September 2001, JB Mpiana became the third Congolese artist to perform at Paris-Bercy ...