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Music in World Cultures Week Five

by: catherrinedoll

Music in World Cultures Week Five 302

Marketplace > Humboldt State University > Music > 302 > Music in World Cultures Week Five
GPA 3.82

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About this Document

These are the notes that we went over during the week of February 22nd to February 26th.
Music in World Culture
Class Notes
Music, World Cultures
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This 3 page Class Notes was uploaded by catherrinedoll on Sunday March 6, 2016. The Class Notes belongs to 302 at Humboldt State University taught by Novotney,ED in Spring 2016. Since its upload, it has received 16 views. For similar materials see Music in World Culture in Music at Humboldt State University.


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Date Created: 03/06/16
Music in World Cultures  February 23, 2016  Africa: MANDE    Listened to Ali Farka Toure “Allah Uya”    MANDE  Cultural group: Mande  Homeland: Mali  ­located in northwestern Africa  ­Mande culture is historically linked to the kingdom of Mali and the Mali Empire    Kingdom of Mali    ­most influential period of time was 1200 CE ­ 1500 CE  ­one of the most powerful kingdoms in Africa  Ruler: SUNJATA KIETA  ­historic figure that brought Mali to influence  ­stretched from the Sahara desert to the Atlantic ocean  ­located at the western and southern ends of the Trans­Sahara Trade Route  ­both wealthy & cosmopolitan  ­traded: GOLD, IVORY, and SLAVES  ­upper territory of Mali is what becomes the Gold Coast  ­sold prisoners of war as slaves  ­traded FOR: SALT, GLASS, and HORSES  ­glass was unknown in Africa  ­not even used practically at that time, just decorative  ­horses were traded for slaves  ­Kingdom of Mali was famous throughout Africa for their legendary armed horsemen  ­horses cannot be bred in Africa because of disease    ISLAM was introduced by 1000 CE  ­by about 1250 CE it was declared the official religion by Sundjata Kieta  ­Islamic beliefs were layered with traditional beliefs    Two social classes: SULA & NYAMALO    Upper class: SULA  ­non­specialists  ­”don’t get their hands dirty”  ­class is not related to wealth, you are born into a certain class  ­cannot switch classes from which you were born into, or you will be exiled  ­examples of Sula are royalty, Islamic literates, merchants, and landowners  Lower class: NYAMALO  ­occupational specialists  ­”get their hands dirty”  ­examples of Nyamalo are metalsmiths, woodworkers, potters, doctors, and musicians  ­they have a craft    Nyamalos provide with Sulas need    Musicians have “power over words”  ­traditionally known as Jali “Djeli”  ­also known by the French as griots and by the British as bards  ­praise singers and oral historians  ­historically both professionals and specialists  ­admired and feared  ­most common instruments are BALAPHON and KORA    BALAPHON  ­a xylophone with gourd resonators    KORA  ­chordophone  ­21 string lute  ­strings are arranged on two sides of a raised bridge  ­requires interlock to play    February 25, 2016    Basic Song Components    Vocal  DONKILO: core  ­precomposed, basic melody  ­sounds like singing    SATARO: elaboration  ­improvised, proverbs or wit or wisdom  ­sounds like speech    Instrumental  KUMBENGO: core  ­precomposed, repeated pattern (estinato)  ­basic accompaniment    BIRMINTINGO: elaboration  ­improvised virtuosic instrumental interlude  ­Homophonic texture  ­vocals: melody  ­Kora: accompaniment      BaMbuti    ­Pgymy  ­a measure of length, the distance between the elbow and the knuckle  ­located in the Ituri Rainforest  ­part of the Democratic Republic of Congo  ­Ethnolinguistic group: Bantu  ­nomadic people  ­hunters, gatherers  ­live in small groups  ­net hunters  ­some scout the herd  ­strong held nets  ­others beat brush  ­the catch is shared    Music  ­no concept of specialization  Two Genres:    Instrumental  ­music is self delactive: meaning music where the producer and the consumer are one in the  same  ­instruments are found and disposable  ­mostly tools that function as instruments    Vocal  ­highly valued  ­Call and Response  ­HOCKET: alternating fragments between two or more sound sources combined to create a  single melody    *There are no corrections in Mbuti culture because you want to create solidarity. The goal is  participation     


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