HOMEWORK #4
CHAPTER 10; AFRICA

1. How do the principal musical manifestations found in the sub-Saharan Africa reflect the collective community and encourage group participations? a. Most of the collective music manifestations found in sub-Saharan Africa represent the community, and encourage group participation using a method that is called call-and-response. If they aren’t using a call-and-response such music’s are usually to be found at events such as religious ceremonies, and/or most other ritual based activities.

2. How is polyrhythmic music created in sub-Saharan Africa? b. Many different things coming together at once create polyrhythmic music, to some it is a great sound of music, and to others it is not. In Africa many instruments are used to make a “polyrhythmic tune” such as: High pitched, and low pitched drums, rattles, bells, and most importantly the voices. It will continuously spin the same musical elements therefore; it creates a “rhythmic melody.” No musician plays the same thing; they each play separate pieces, which aren’t to hard.

3. What linguistic elements are required to make a drum “talk”? c. Language is a big part of the musical world in the Africa regions. When we think about what is called the “talking drums,” we are quick to try and piece things together. Talking drums are used in forms of honorary to the royalty, or even honoring the fallen. When doing these drummers replicate the “speech rhythm” of the words that are being said. When you listen to a “talking drum” piece, it seems as if the drums were mimicking what the vocalist was saying. The tone, and the way the word is said is what play to the mind of the drummers. If the word is either answered in low-tone, or high-tone usually classifies in what text the words were being used.

4. In what ways do JUJU and other types of popular music