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Ostinato figures are also played on string instruments such as the kora, gankoqui bell ensembles, and pitched drums ensembles. Often, African ostinatos contain offbeats or cross-beats, that contradict the metric structure. [20] Other African ostinatos generate complete cross-rhythms by sounding both the main beats and cross-beats.
Canto Ostinato ("Obstinate Song" (as ostinato)) is a musical composition written by the Dutch composer Simeon ten Holt. The piece was completed in 1976 and performed for the first time in 1979 and is by far his most popular and most performed work.
' The Voice of South Africa '), also known as "The Call of South Africa" or simply "Die Stem" (Afrikaans: [di ˈstɛm]), was the national anthem of South Africa during the apartheid era. There are two versions of the song, one in English and the other in Afrikaans , which were in use early on in the Union of South Africa alongside God Save the ...
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).
bongo – West African boungu; buckra – "white man or person", from Efik and Ibibio mbakara [3] chigger – possibly from Wolof and/or Yoruba jiga "insect" cola – from West African languages (Temne kola, Mandinka kolo) djembe – from West African languages; jazz – from West African languages (Mandinka jasi, Temne yas) jive – possibly ...
The national anthem of South Africa was adopted in 1997 and is a hybrid song combining extracts of the 19th century Xhosa hymn " Nkosi Sikelel' iAfrika" (English: "God Bless Africa", lit. ' "Lord Bless Africa" ' ) and the Afrikaans song that was used as the South African national anthem during the apartheid era, " Die Stem van Suid-Afrika ...
The song was penned in "South African creole English", [3] the vernacular of young, English-speaking South Africans, with liberal sprinklings of Afrikaans words and phrases. The language was that of Taylor's students, to whom he taught Latin in the southern suburbs of Johannesburg. The lyrics are full of references to places, brands and ...
The song contains a bass ostinato [5] that is repeated throughout the first 16 bars of the song. The first 16 bars are entirely based upon a G7(13) chord. The B section—or the final 16 bars—contains the following form. After the B-section, the song repeats with the same bass ostinato.