This page presents the required listening for the course. Samples of many selections are provided by links to Calabash Music (a fair trade distributor) and Amazon.com. Click on a recording title and scroll down the page to access the samples.
Amazon Partnership and Music Samples
| LISTENING | NOTES |
|---|---|
| Unit 1: Introduction | |
| Konte, Lamine. “Diakha.” Song of the Griots . JVC, 1990. | This is a solo kora piece, composed in about 1820 by a griot in the west of Senegambia. It is dedicated to the Diakha people, who live in the village of Dia in the center of Mali. |
| Positive Black Soul. “Djoko.” Salaam. Mango, 1996. | |
| Rose, Doudou Ndiaye. “Rose Rhythm.” Doudou Ndiaye Rose. Real World, 1994. |
This selection begins with a solo improvisation on the gorong yeguel. At 0:19, the accompaniment parts join in, playing Kaolack. At 0:42, the rest of the ensemble plays the signature bàkk (“Rose Rhythm”) in unison.
Beginning - Solo improvisation on the gorong yeguel |
| Unit 2: Senegal | |
| M’Baye, Cheikh Taïrou. “Farwou Diar - Thie Bou Djeune.” Mame Bouna. Mame Bouna Productions, 2003. |
This track features the first two dance rythmes played at a sabar. “Farwou Diar” means “worthy boyfriend”, and was originally played for couples to encourage courtship, though it is now danced by women. The rhythm is characterized by a rolling triplet figure in the mbalax part (ja-JA-gin), with the emphasis on “JA” (just before the bass tone). Thieboudjeune begins at 2:24, and can be characterized by a fast duple meter (GIN, ja-ja) with the emphasis on the bass note. Thieboudjeune is named after Senegal’s national dish, literally “rice and fish.”
Beginning - Farwou Diar dance rhythm begins after a very brief introduction |
| Nder, Alioune Mbaye. “Lenëën.” Nder et le Setsima Group. Disques Nuits D’Afrique, 2000. | This is an example of a typical slow mbalax song. The text is about love (“love is something else”), and the importance of respecting women. Listen for the Kaolack accompaniment part (i.e. “mbalax”) which is played on the sabars throughout the song, as well as a bàkk that appears at 2:15 and 3:44, punctuating the ends of sections. |
| Etoile de Dakar. “Xalis.” Xalis. Popular African Music, 1994. | This performance was recorded in 1978, and is an example of the young Youssou N’Dour. An example of early mbalax. |
| Orchestra Baobab. “Autorail.” Bamba. Stern’s Africa, 1994. | This is an example of early dance-band music, with heavy Afro-Cuban influences. Recorded in 1980. |
| Orchestra Baobab. “jin ma jiin ma.” Specialist in all Styles. Nonesuch, 2002. | By the recently re-grouped Orchestra Baobab, recorded in 2002. Sung by Rudy Gomis over a classic ‘salsa’ rhythm. |
| N’Dour, Youssou, Wyclef Jean, and Marie Antonette. “Birima (remix).” Joko: The Link. Nonesuch, 2000. | |
| Diamono, Lemzo. “Boul ko fowe.” Marimbalax. Originally released in 1992. | Sung by Alioune Mbaye Nder (“Nder”), before he began his solo career. Slow song; compare to Nder’s “Drogue.” |
| Nder, Alioune Mbaye. “Drogue.” Nder et le Setsima Group. Disques Nuits D’Afrique, 2000. | This is a newer version of the song “Boul ko fowe” by Lemzo Diamono. This version features keyboards by French musician Jean-Philippe Rykiel, and violin. This CD was released for a European market. |
| Pape et Cheikh. “Yatal Gueew.” Mariama. Real World, 2002. | An example of Senegalese “folk.” Translates to “widen the circle.” Talks about standing up for democracy, tolerance and peace; was an important theme song in the election campaign of 2001. |
| Fatou, Guewel, and Groupe Sope Noreyni. “Fiirnde Santa Bamba.” Fatou. Stern’s Africa, 2006. | This is an example of neo-traditional mbalax music, featuring more sabar, and the xalam (plucked lute, similar to banjo.) Note the traditional griot style of singing, both by the lead vocal, as well as the call-and-response with backing vocals. |
| Positive Black Soul. “Gold and Diamonds.” Run Cool. Palm Tree Enterprises Inc. / East West France, 2000. | |
| Interlude: Southern Africa | |
| Ladysmith Black Mambazo. “Uligugu Lami.” The Best of Ladysmith Black Mambazo, Vol. 2. Shanachie, 1998. | Example of isicathamiya. |
| Ladysmith Black Mambazo. “N’kosi Sikeleli Afrika.” Do It A Cappella [Soundtrack]. Elektra/WEA, 1988. | |
| Mandoza. “Godoba.” Godoba. CCP Records, 2002. | Example of Kwaito music from South Africa. |
| “Nhemamusasa - I.” Zimbabwe: Shona Mbira Music. Nonesuch Explorer, 2002. | Example of Shona mbira dzavadzimu. Begins with single kushaura player, then kutsinhira player joins in, followed by the hosho. |
| “Nhemamusasa - II.” Zimbabwe: Shona Mbira Music. Nonesuch Explorer, 2002. | Both parts improvise in this excerpt. |
| Mapfumo, Thomas. “Mhondoro.” Chimurenga Forever: The Best of Thomas Mapfumo. Hemisphere/EMI, 1996. | Example of chimurenga music. Hear how the mbira technique is transformed to the electric guitar. |
| Mapfumo, Thomas. “Hondo.” Chimurenga Forever: The Best of Thomas Mapfumo. Hemisphere/EMI, 1996. | Note the use of mbiras in his line-up. |
| Unit 3: Mali | |
| Kuyateh, F. “Allah l’aake.” (Kolda, Senegal). Jali Kunda: Griots of West Africa and Beyond. Ellipsis Arts, 1997. | This recording features musicians from Kolda, in the south of Senegal. It includes 3 koras, percussion, and a chorus of singers. |
| Kuyateh, F. “Allah l’aake.” (Brikama, Gambia). Jali Kunda: Griots of West Africa and Beyond. Ellipsis Arts, 1997. | This recording features musicians from Brikama, the Gambia. There are 6 koras, and a chorus of singers. |
| “Fakoli.” (Mali). Badenya: Manden Jaliya in New York City_._ Smithsonian Folkways Recordings, 2002. | This song features the Super Manden ensemble: Abdoulaye Diabate, voice; Abou Sylla, bala; Fousseny Kouyate, n’goni; Yacouba Sissoko, kora; Mamadou Diabate, kora; Chiek Barry, bass; Moussa Sissoko, guitar. It is a song of the Sunjata epic cycle about a key ally to the emperor, the sorcerer and warrior Fakoli. |
| “Sori Kemedon.” (Guinea). Badenya: Manden Jaliya in New York City. Smithsonian Folkways Recordings, 2002. | About Sylla and Famoro Dioubate, balafon duet. One bala is played without the characteristic buzzing resonator, lending a contrasting voice to the balance of the instruments. |
| “Diniya.” (Guinea). Badenya: Manden Jaliya in New York City. Smithsonian Folkways Recordings, 2002. | Features Djefalima Diabate, voice; Abou Sylla, bala, dundun; Fode Bangoura, djembe. A song appealing to youth to respect their elders. |
| Tounkara, Balla. “Dianfa.” (Treason). Be Right. Balla Tounkara Music, 2000. | Example of kora in “House” music style; arr. Tounkara and Wirth. |
| “Le Monde est Fou.” (It’s a crazy world). Be Right. Balla Tounkara Music, 2000. | Example of kora music fused with a Cuban style; arr. Tounkara. |
| Touré, Ali Farka, with Ry Cooder. “Diaraby.” Talking Timbuktu. Hannibal, 1994. | Traditional arranged by Toure; sung in Bambara. Instrumentation: Ali Farka Toure, vocals, electric guitar; Ry Cooder, electric guitars, bass guitar, marimba, accordion sample; Hamma Sankare, calabash, chorus vocals; Oumar Toure congas, chorus vocals. |
| Touré, Ali Farka. “Allah Uya.” Niafunké. World Circuit/Nonesuch, 1999. | |
| Keita, Salif. “Iniagige.” Moffou. Universal Music/Decca, 2002. | |
| Keita, Salif. “Baba.” Moffou. Universal Music/Decca, 2002. | |
| Sangare, Oumou. “Worotan.” Worotan_._ World Circuit/Nonesuch, 1996. | |
| Sangare, Oumou. “Diaraby Nene.” Moussolou. Elektra/Asylum, 1999. (Original release 1989.) | |
| Keita, Salif. “Mandjou.” The Mansa of Mali… A Retrospective. Mango Records, 1994. | This song was recorded in 1978 in Abidjan, Ivory Coast. It is a famous epic poem dedicated to the Mandingo people and Guinee’s President Sekou Toure. Considered Salif Keita’s classic song. |
| Unit 4: Ghana | |
| “Agbekor.” From CD in Titon, J. T., et al., eds.Worlds of Music. 2nd paperback ed. New York, NY: Schirmer, 2004. ISBN: 9780534627577. | Traditional music of Ewe people. a. Three slow-paced songs (0:00-2:52). b. One song in free rhythm (3:02-4:20). c. One fast-paced song (4:27-5:35). From a field recording by David Locke, Anlo-Afiadenyigba, Ghana, 1976. |
| “Agbekor Demonstration.” From CD in Titon, J. T., et al., eds.Worlds of Music. 2nd paperback ed. New York, NY: Schirmer, 2004. ISBN: 9780534627577. | Gankogui part is played solo, then paired up with the following instruments in order: axatse, kaganu, kidi, kloboto, totodzi, and finally with the full percussion ensemble. |
| “Atsiagbekor.” From CD in Titon, J. T., et al., eds. Worlds of Music. 2nd paperback ed. New York, NY: Schirmer, 2004. ISBN: 9780534627577. | |
| “Nag Biegu.” From CD in Titon, J. T., et al., eds. Worlds of Music. 2nd paperback ed. New York, NY: Schirmer, 2001. ISBN: 9780534627577. | “Ferocious Wild Bull”. Traditional praise name dance song of Dagbon; performed by lunsi drummers of the Dagbamba people. Begins w/ call by leading lunga drum, followed by chorus answer (including lunga and gung-gong drums); praises by vocalist and leading lunga drum; then chorus, praises, corus, then fade out during verse. Field recording by David Locke, Ghana, 1984. |
| Mensah, E. T., and the Tempos Dance Band. “Schoolgirl.” Giants of Danceband Highlife. Original Music, 1990. | |
| Calendar, Ebenezer. “Nobody’s Business.” | |
| “Ompeh.” Rhythms of life, songs of wisdom: Akan music from Ghana, West Africa. Recorded, compiled, and annotated by Roger Vetter. Smithsonian Folkways, 1996. | Akan music from the Denkyira area of Ghana. |
| “Postal Workers, Ghana.” From CD in Titon, J. T., et al., eds.Worlds of Music. 2nd paperback ed. New York, NY: Schirmer, 2001. ISBN: 9780534627577. | Postal workers canceling stamps at the University of Accra, Ghana, post office. The whistled tune is the hymn “Bompata,” by the Ghanaian composer W. J. Akyeampong. A field recording by James Koetting in Legon, Ghana, 1975. |
| Interlude: Central Africa | |
| Ley, Tabu Rochereau, and L’Orchestra Africa International. “Africa Mokili Mobimba.” Africa Worldwide: 35th Anniversary Album. Rounder Records, 1996. | Example of Soukous. |
| Papa Wemba. “Mfono Yami.” Africa Never Stand Still. Ellipsis Arts, 1994. | Example of soukous. |
| Man, Kanda Bongo. “Sai.” Africa Never Stand Still. Ellipsis Arts, 1994. | Example of soukous, featuring “kwassa kwassa”. |
| Unit 5: Nigeria | |
| King, Tunde and his Group. “Oba Oyinbo.” Juju Roots. Rounder Records, 1992. | Tunde King is one of the first juju musicians, and is credited with coining the term. This song was recorded in 1936. |
| Dairo, I. K., and his Blue Spots. “I Remember.” I Remember. Music of the World, 1991. | |
| Adé, King Sunny. “Ja Funmi.” Juju Music. Mango, 1982. | |
| Kuti, Fela Anikulapo. “Yellow Fever.” Yellow Fever / Na Poi. MCA, 2000. | Criticizes the commonplace practice of skin-bleaching among African women. |
| Kuti, Femi. “Traitors of Africa.” Fight to Win. MCA, 2001. | Femi Kuti is the son of Fela Kuti. |
| Kuti, Fela Ransome and Nigeria 70. “Obe.” Koola Lobitos 1964-1968 / The ‘69 Los Angeles Sessions. MCA, 2001. | |
| Interlude: East Africa | |
| “Endingidi medley.” Track 18 on CD in Barz, Gregory. Music in East Africa. New York, NY: Oxford University Press, 2004. ISBN: 9780195141528. | The Endingidi is a Ugandan tubefiddle. |
| Choir of the Mikocheni Anglican Church. “Endongo demonstration.” Track 21 on CD in Barz, Gregory. Music in East Africa. New York, NY: Oxford University Press, 2004. ISBN: 9780195141528. | A KiHehe melody, sung by the choir of the Mikocheni Anglican Church at a Mashindano ya Kwaya at St. Alban’s anglican Church, Dar es Salaam, 1993. Led by Gideon Mdegella. Example of kwaya music from Tanzania. |
| Muyinda, Evalisto. “Omunya” (the lizard.) From CD in Barz, Gregory. Music in East Africa . New York, NY: Oxford University Press, 2004. ISBN: 9780195141528. | The singer, Evalisto Muyinda, praises the lizard; it is a harmless animal; it doesn’t eat bread and rice. So there’s no reason for killing it. And if you kill and lizard, you will never go to heaven. Vocals accompanied by the endongo, the 8-stringed bow lyre. Muyinda is one of the last remaining court musicians who played traditional music for the Baganda royalty. |
| “Sinamwa ku mwenge muka ogwembuga.” From CD in Barz, Gregory. Music in East Africa. New York, NY: Oxford University Press, 2004. ISBN: 9780195141528. | In this song, the musicians (through their music) indirectly ask the king (Kabaka) for beer. This example features 3 musicians on the akadinda, or xylophone, and one on ensasi (rattle). |
