Chapt 10-13

Question 0

Piatus in African music

Answer 0

family and tradition, subject manner of African songs often has to do with family, god, thankful, working toward making a better world.

Question 1

Concept of the River and Path

Answer 1

-The river was first god brought the river. Has to be a connection and nature and god.
Radical royals-Salif and Sechou Keita- were kings and their roles were already set and they defied that role and played music. Not supposed to be royal and play music. Many musical groups you are born into and have to have a bloodline to be a part of it.

Question 2

Matching country to music

Answer 2

Mexico-mariachi​
Argentina-Tango
Brazil-Samba​​
Mambo-Cuba
Salsa-USA​​
Brazil-Bossa Nova

Question 3

Mambo characteristics

Answer 3

Big bands instrumentation, jazz influence/limited singing, layered ostinatos listening to music say who it is, Tito Puente- flute, layers, trombones. Santana will have a guitar instead of flute. Tito Puente Jr. more pop more modern cause of pop.

Question 4

Mambo Kings

Answer 4

Tito Puente, Tito Rodriguez, Machito

Question 5

Instruments important to Jeliya

Answer 5

Kora and Koni

Question 6

Kora

Answer 6

Kora 21 strings
This is a remarkable plucked chordophone of the Mande peoples of western Africa with a history dating back centuries. Today,
the ancient legacy of the kora is preserved in the art of eliya the musical repertoire of the hereditary “praise
singer,” or griot families among the Mande. The kora also has taken on a new life as a prominent musical instru-
ment in a wide range of both African and international popular, intercultural jazz, and world beat music circle.Organologically, the kora is classified as a harp-lute because it possesses features of both the lute (it is plucked with the right hand) and the harp (it has perpendicular strings with a resonator). It is undoubtedly the best known of all African stringed instruments. It seems the kora has existed since the beginning of the Middle Ages but its expansion dates from the Mali empire (1240s). It is used to celebrate heroes in very rich and moving instrumental forms. It is made from half of a large gourd covered with goat or calf skin stretched by leather laces (the skin is now held in place by pegs or pins). The skin is perforated by two handles that the player uses to hold the kora and a stick runs through the gourd across the middle of the skin perpendicular to the two handles and the bridge. The strings are joined to the bridge (formerly 7 strings but now 21) by circles of steer-hide thongs. As the kora evolved, the rings were gradually replaced by hardwood keys or guitar keys

Question 7

Koni

Answer 7

Initially covered with snake skin, It is now composed of a wooden pole with a goatskin covered wooden resonance chamber in a pirogue form. In some versions, the resonance chamber is made out od calabash instead of wood.
Nylon strings are individually attached to the pole by means of leather rings.
Though nylon strings are used nowadays, it used to be animal hairs ( horsehair).
The strings are tuned by moving the self-blocking rings up and down the pole.
A resonator is sometimes attached at the end of the wooden pole.
The tuning of the instrument is directly related to the piece of traditional music being played, so there are many possible tunings for this instrument.

Question 8

Three different style of playing Kora (techniques)

Answer 8

Kumbengo-Groove that happens in the music
Birintingo-Flourish solo, flashy
Sataro-different style of vocal, comes toward end of piece, higher pitch, improvisatory

Question 9

fontonfrom

Answer 9

drum ensemble played when the king has an appearance