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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]
A divisive form of cross-rhythm is the basis for most Sub-Saharan African music traditions. Rhythmic patterns are generated by simultaneously dividing a span of musical time by a triple-beat scheme and a duple-beat scheme.
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 rhythm is divisive rhythm. However, perhaps because of their seemingly asymmetric structure, bell patterns are sometimes perceived in an additive rhythmic form. For example, Justin London describes the five-stroke version of the standard pattern as "2-2-3-2-3", [ 39 ] while Godfried Toussaint describes the seven-stroke form ...
African dance refers mainly to the dance styles of Sub-Saharan Africa, of which many are based on traditional rhythms and music traditions of the region.Modern African dance styles are deeply rooted in culture and tradition.
The ethnomusicologist David Locke states: "Cross-rhythm pervades Ewe drumming."[2] In fact, the overall rhythmic structure is generated through cross-rhythm. [3]Cross-rhythm was first identified as the basis of sub-Saharan rhythm in the early writings of A.M. Jones, and was later explained in great detail in lectures by the Ewe master drummer and scholar C.K. Ladzekpo, and in the writings of ...
From DJ Kool Herc and The Last Poets to Prophets of Da City and Mode 9, here’s how African history has influenced hip-hop – and vice-versa – 50 years after the genre was born.
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]