1. Music of Africa Introduction

2. The African Continent

3. European Colonialism European claims, 1914

4. African Identity Local (i.e. within local community): –Gender –Age –Kinship Ethnicity Language Nationality

5. General Characteristics Music is “functional” (i.e. for ceremonies; work; play) Music often used to communicate with spirits/ancestors Music and dance often inseparable Drumming considered “music”

6. Musical Tendencies Musical forms often based on ostinato patterns Polyrhythms (West Africa) Call and response Music used as means of communal participation Interlock Open-ended forms Preference for dense textures

7. Ewe Music (Ghana/Togo): Agbekor Genre of dance- drumming (involves dancing, drumming, singing) Performed by specialist groups Performance contexts: funerals, (originally for battles)

8. Agbekor Drums (4 single- headed drums, in hierarchy, with lead drummer) Double bell (gankogui) Gourd rattle (axatse)

9. The Ewe People Were historically a minority group w/in larger kingdoms of Fon and Yoruba. Hierarchical society – lineage is important, confers authority. Military battles and history preserved in songs and oral history.

10. Ewe Spiritual World-View Supreme being (Mawu); other divinities interact with humans and the world Ex. “Se” – keeper of souls; destiny Strong belief in ancestral spirits and their activities on earth

11. Agbekor in Performance Held after a wake for the deceased Drummers (with lead drummer) sit at one end of area; dancers stand in lines facing drummers Singers (with song leader) stand behind dancers Lead drummer determines drum/dance “style”; when music starts/stops

12. Percussion Ensemble “Listen to the bell” – plays fundamental ostinato (based on 12-beat phrase) 123456789101112 4-beat XXXX bell XXXXXXX 6-beat XXXXXX

13. Agbekor Songs Variety of topics, including war and bravery; grief Call and response (leader and group) Short, repeated sections using limited pitches