10-1 Elizabeth Kumi and Joseph Manu, Talking Drum
Comes from Akan culture, spoken in twi
Claims the river came first by creater, the path was carved by man Talking drum atumpun Mimics pitch, rhythm and timbre of vocal speech
10-9 Fontomfrom Ensemble of Eyisam Mbensuon, Fontomfrom
Duple meter, dense interlocking texture, membranophones (eguankoba and atumpan), and idiophone (Dawuro)
Fontomfrom is also from Akan Longstanding tradition, music represent power ans tature of the Nane in pubic appearances like processions, villag ecermonies, and funerals Nana are king of akan groups
10-23 Neba Solo,Kendougou Foly
Jeli (region in mali and also a group of court musicians who are trusted in the culture as performers with only three family names)
Uzes the jeli instrument of the balafon (idiophone) A xylophone that Uses a gourd as a rezonator giving it a buzzing timbre Also features the vocals of the performer/polyphony
10-24 Bassekou Kouyaté, The River Tune
mande music, jeli lineage
Uses the Ngoni Chordophone, An ancestor of the jbanjo with a plucky resonant timbre Held horizantally across the Jeli’s lap, varies in number of strings and pitch
10-28* Seckou Keita, Dounuya*
Seckou Keita is a controversial jeli
Father is keita, mother is sissoko Ended up becoming a jeli as he was closer to mother’s side It is a praise song whihc is a jeli tradition, praiing the world’ the divine Duple meter, interlocking tentrue, spiked har chodophone (Kora) Kumbengo Flowing layered ostinati, improvise Birimintingo Fast descending line/short flourish that breaks the Kumbengo style for a moment Sataro Vocal style that is higher and stronger than kumbengo style, important to praise singing
10-40 Toumani Diabaté and Taj Mahal, Catfish Blues
American blues Taj Mahal reconnect with his african roots), West African Jeli Diabate (make Jeli must widespread)
Primarily showcases the blues through Taj Mahal’s vocal style The kora links to West Africa Duple Meter, Polyphony, Chordophones (Kora and guitar), membranophones
10-43* Toumani Diabaté and Taj Mahal, Atlanta Kaira*
American blues Taj Mahal reconnect with his african roots), West African Jeli Diabate (make Jeli must widespread)
Based on older song Kaira, nationalistic emblem of mali independence Primarily showcases the Jeli roots, Kora dominated texture Begins with Kairo intro, leads into Kiara song, sataro section, improv Koni solo, second sataro section, and a reprise
Mhuri Ye Kwa Rwizi Ensemble, Nhemamusasa (field recording of bira
ceremony)
From a bira ceremony, religious ceremony of shona people
Long process, culminates in spiritual possesion Has interlocking with the mbiras (idiophone/lamellophone, with the Kushaura (leads) and Kutsinhira (follower) Cyclical form, cycle of 48 beats Duple meter, stratified polyphony
Thomas Mapfumo, Mabasa (Work) (Chimurenga example)
Chimurenga is a shona word for stuggle
Based on classical mbira pieces played by rock band ( Done so they can be critical of government without being found out Layered ostinati, buzzing timbres (electric guitars)
11-5 Big Mamma Thornton, Hound Dog
Duple meter
Aerophones (harmonics, vocals), chordophones (electric guitar, bass), electrophone (electric guitar), membranophone and idiophones (drumkit) Showcases sound quality which is components of black music Growly voice (soulful quality)
11-6 Elvis Presley, Hound Dog
Duple meter
Syncopated claps Polyphony Appropriated this song from Thorton, his techniques are taken from Black music Reached a white audience
11-19 Odetta, Sometimes I Feel Like a Motherless Child
Gives a sense of mourning/loss
Can be taken literally or metaphorically (loos of place in world or csociety) relfects Black experience Free rhythm, polyphony, aerophones (vocals,), chorodpohone (upright bass)
11-24 Lead Belly, De Kalb Blues
Country blues: rural souther us, genrally acoustic, solo insturment and voice
Incarcerated but very famous, found by Alan Lomax Duple meter, polyphony, chordophone and aerophone 12 bar cyclic blues
11-25 BB King, Three O’Clock Blues
An example of urban (electrified blues), mass migration in the 20s from south to northern cities beginning of rock and roll
BB king iconic Conversational element with vocals and guitar Duple meter 12 bar Cyclic structure
11-26 Mammie Smith, Crazy Blues
Example of classic blues
Early 20th century blended early blues, jazz and vaudevill performance 12 bar blues form Melancholy aspect stuggles of day to day, poeticism similar to spirituals Duple meter
11-37 Bessie Smith, Backwater Blues
Empress of the blues, one of the first blues singers to be recorded and mass distributed
In blues form, cyclic form based on chord progression Quadruple meter, lyrical component A,A,B Conversational element (sings then piano riff)
11-38 Bessie Smith, St. Louis Blues*
Composed by W.C. Handy, sung by Bessie, Lousi Armstrong on strumpet (iconic group of people)
Exemplar of classic blues 12 bar clues cyclic form Tension between minor and major keys Deviates from AAB poetic structure in Bridge and final verse, switches to ABC
11-49 Tina Turner, What’s Love Got to Do With It?
Turner’s ex husband and band member Ike was very controlling of her
MTV pushed the visual’s Turner used the lyrics of this song and the visuals on mtv to showcase ho she does not need men to be successful, only herself Duple meter, raspy timbre in vocals distinc sections of the song
11-61 Beyoncé, Freedom*
Utilizes samples (gospel and choir) relfects Black culture
Distinct structure (intro jarring transition into her vocals) Syncopation, homophony
Henry Thomas, Red River Blues
Showcases songters (traveling musicians who were competant in many styles of music)
Thomas large figure in folk revival movement )grateful dead covered his music) Utilize quills insturment (aerophone) chordophone/guitar alluding to european style harmony Fast tempo Whistle timbre
Arizona Dranes, My Soul Is A Witness To The Lord
This song is a barrelhouse piano, wokrers would get off of work and go to the barrelhouse clubs
She brought those aspects into her music Call and response (her speaking and the other vocalists responding) Percussive approach to piano Basslines have prominent role in black music
Murph Gribble, John Lusk, Albert York, Rolling River: Country Dance
Showcases stringbands
Hillbilly/old time music catered to white rural markey Some of the earliest racially integrated sessions Race record, producers not interested in African Americans playing this type of music Utilizes chordophones banjo, violin, Duple meter
