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Ensaasi, also known as Ensaasi-Enseege, are traditional Ugandan percussion instruments commonly referred to as shakers. They are idiophones, meaning they produce sound through the vibration of their entire body when shaken. These instruments are most closely associated with the Baganda people of central Uganda and the Basoga people of eastern ...
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The Engalabi is commonly used by Ugandan tribes, including the Baganda, Banyankole, Bateso, Basoga, Buzimba, and Tagwenda.It is featured in musical festivals, dance performances, and serves as a means of conveying messages during traditional ceremonies.
This means that most music and music activities usually have specific functions related to specific festivities like marriage, initiation, royal festivals, harvests and war among others. The music is performed by skilled tribesmen and women who are good at playing various traditional instruments, folk songs and traditional dances.
Baganda music is based on an approximately equidistant pentatonic scale. Therefore, the octave (mwànjo, plural myanjo) is divided into five intervals of approximately 240 cents (2.4 semitones). There is some variation in the interval length between instruments, and it even might vary in one (tunable) instrument during a performance.
On the other hand, Carnatic classical music is more popular in regions such as Souther India and Sri Lanka, and consists of ancient religious and spiritual hymns that take close inspiration from Vedic literature.This style of music developed mostly independent of Islamic and Persian influences and is regarded as being closer to the ancient ...
In Indian tradition, the ravanahatha is believed to have originated among the Hela people of Lanka during the time of the legendary king Ravana, after whom the instrument is supposedly named. The Hela people, however, had only settled in Sri Lanka around 500 BCE, and had not found any trace of an earlier civilization, only groups of tribals ...
The instrument is tuned in accordance with the range of the singing voices, either by turning the tuning pin or moving the bridge. The player holds the neck of the instrument in the palm of his left hand as he plays and so can damp the string with the second segment of his index finger, middle finger or ring finger.