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SOUTH AFRICA PART 3. BELLWORK: DEFINE TERMS  Ibombing: the loud, almost shouting vocal style of early isicathamiya.  Makwaya: mission-derived choral.

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Presentation on theme: "SOUTH AFRICA PART 3. BELLWORK: DEFINE TERMS  Ibombing: the loud, almost shouting vocal style of early isicathamiya.  Makwaya: mission-derived choral."— Presentation transcript:

1 SOUTH AFRICA PART 3

2 BELLWORK: DEFINE TERMS  Ibombing: the loud, almost shouting vocal style of early isicathamiya.  Makwaya: mission-derived choral performance.  Overtones: tones produced by a resonant lower register fundamental tone, common in musical bow playing  e-shaywayo nezim tambo: guitar; literally “the thing that is struck or sounded by means of strings or with a bone”.

3 ANNOUNCEMENTS  Test on South Africa this Tuesday May 6 th.  Reading Outline #23 is due today.

4 OUTCOMES  Scholars Will:  Grammar: Learn basic facts about South African music  Logic: Learn how to sing in solfege

5 MIRIAM MAKEBA-IBOMBING VIDEO

6 OVERTONES-VIDEO 2

7 MISSION STYLE CHOIR DRESS

8 RE-AFRICANIZED CHOIR DRESS

9 GUIDED NOTES  Music is more than embellished speech.  Melodies are derived from chords. These blocks of sound are contained in a single melody line.  Phala: tonic  Thakhula: leading tone   The Leading tone lifts the melody back onto the tone center.  This melodic movement corresponds with the raising, dipping and turning the body.

10 ACTIVE LISTENING #4 KUNGCONO KHONA  What form is this song in?  Do you think the singer is telling a story or singing a love song?  What musical aspects influenced your decision?

11 JUST THE FACTS #4 KUNGCONO KHONA  This song is used to accompany gumboot dance therefore it provides a basic rhythmic groove.  In the story of this song, a young man leaves his home with his lover and finds her to be a bad choice.

12 TRANSLATION OF LYRICS  I am alright as I am, Father  Better than what I am seeing around me.

13 THE THREE PARTS OF A MASKANDA GUITAR AND VOICE SONG  The maskanda guitar player included all of the following elements:  a choral part  A narrative part  self-praises

14 CFU: THINK, PAIR, SHARE  Quote analysis:  One musician writes:  “In the shared experience of music itself there is the possibility of reaching beyond the constraints of words and social role and cultural time, by extending tonal and harmonic structures in a special world of musical time.”  Q: How does music create freedom? Is music separate from daily life?

15 CFU: SOUTH AFRICAN SONG

16 EXIT TICKET  What is the name for mission-derived choral performance?  Name two characteristics of Maskanda guitar performance:  What is the song Kungcono Khona about?  What is the difference between mission style and re-africanized choir dress?

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