Category Archives: Ethnomusicology

Southern African & Zimbabwean music connection

Created by Daniel Gritzer in 2000, Southern African & Zimbabwean music connection provides annotated and unannotated bibliographic listings for writings on music from Angola, Botswana, Madagascar, Malawi, Mozambique, Namibia, South Africa, Zambia, and Zimbabwe, as well as links to Internet resources for most of these countries.

This post is part of our series of celebrating Black History Month. Throughout February we will be posting about resources and landmark writings in black studies. Click here or on the Black studies category on the right to see a continuously updated page of links to all of our posts in this category.

Below, a demonstration of the mbira of Zimbabwe.

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Filed under Africa, Resources

J.H.K. Nketia, Ghanaian ethnomusicologist

Ever since the publication of his African Music in Ghana (Evanston: Northwestern University Press, 1963), Joseph Hanson Kwabena Nketia (b.1921) has been reknowned among ethnomusicologists. His distinguished career has included many fine publications on music in Africa and its diaspora. The first volume of his collected papers, Ethnomusicology and African music: Modes of inquiry and interpretation, was issued by Afram Publications in 2005.

Nketia’s extensive background in musicology gave him the tools to revolutionize the analysis of African drumming, and since the 1980s he has produced landmark articles on more general aspects of ethnomusicological theory. He is also a composer—he studied with Henry Cowell in the late 1950s—who has written works for both Western and African instruments.

This post is part of our series celebrating Black History Month. Throughout February we will be posting about resources and landmark writings in Black studies. Click here or on the Black studies category on the right to see a continuously updated page of links to all of our posts in this category.

Below, a performance of Nketia’s Monna n’ase (1942).

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Filed under Africa, Ethnomusicology

South African audio archive

Established by Flat International in September 2010, South African audio archive is a not-for-profit visual archive of rare and sometimes unusual South African audio documents. The project aims to provide a resource for those researching South African audio history.

The database is searchable by artist, label, company, and genre, and the website includes a bibliography and a chronology of sound recording in South Africa. High-quality reproductions of album covers or record labels are provided for each entry, along with full discographic notes and annotations.

This post is part of our series celebrating Black History Month. Throughout February we will be posting about resources and landmark writings in black studies. Click here or on the Black studies category on the right to see a continuously updated page of links to all of our posts in this category.

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Herskovits and Freud

Numerous examples of the Freudian concept of repression may be observed in black cultures in Africa and the Americas. Though they do not use the Western term, these cultures involve a full awareness of repression and its attendant dangers for individuals and society, and they have developed therapeutic activities to mitigate it.

This according to the 1934 essay “Freudian mechanisms in primitive Negro psychology” by Melville J. Herskovits, which was included in Essays presented to C.G. Seligman (London: Kegan Paul International). While the word primitive has since been discredited, the piece is a milestone in the history of anthropology and is considered the first successful application of psychoanalytic theory in that field.

Herskovits explores how in many cases these therapeutic activities comprise satirical or insulting singing events that express what cannot be spoken directly, providing a release of repressed feelings in a socially supported framework. He discusses examples from Benin, Haiti, and Suriname, with particular attention to the Suriname Maroon lóbi singi ritual.

Usually performed by women, lóbi singi may comprise an exchange of insulting song verses, or it may involve a woman who socially redeems herself through singing satirical verses about her notorious past in alternation with a chorus of her peers; in both cases, social wounds are healed by the expression of repressed feelings.

This post is part of our series celebrating Black History Month. Throughout February we will be posting about resources and landmark writings in black studies. Click here or on the Black studies category on the right to see a continuously updated page of links to all of our posts in this category.

Top: In 1929, Herskovits contemplates ritual objects that he collected in Suriname.

Related posts:

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Filed under Science, West Indies

“Now what a time”

An installment in the Library of Congress’s American memory series, “Now what a time”: Blues, gospel, and the Fort Valley Music Festivals, 1938–1943 presents approximately 100 sound recordings—primarily African American blues and gospel songs—and related documentation from the folk festival at Fort Valley State College (now Fort Valley State University), Fort Valley, Georgia, in 1941 and 1943.

Song lists made by the collectors, correspondence with the Archive about the trips, and a special issue of the Fort Valley State College student newsletter, The Peachite: Festival number, are also included. Notable in this collection is the topical rewording of several standard gospel songs to address the wartime concerns of the performers.

Also included are recordings made in Tennessee and Alabama (including six Sacred Harp songs) by John Work between September 1938 and 1941. These recording projects were supported by the Library of Congress’s Archive of American Folk Song (now the Archive of Folk Culture at the American Folklife Center).

War song, performed by Buster Brown in March 1943, can be heard here.

This post is part of our series celebrating Black History Month. Throughout February we will be posting about resources and landmark writings in black studies. Click here or on the Black studies category on the right to see a continuously updated page of links to all of our posts in this category.

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Dagomba dance-drumming

Created by the ethnomusicologist David Locke, Dagomba dance-drumming presents sound recordings, staff notation, and text materials on the dance drumming of the Dagomba people of northern Ghana.

The recordings and historical narratives—including a personal narrative of training in drumming—were collected from Alhaji Abubakari Lunna, an expert on Dagomba performing arts and culture. The story of Lunna’s life conveys the scope of the knowledge that a great drummer learns, the way this heritage is transmitted, and a glimpse into the Dagomba drumming scene during the second half of the twentieth century. The website is hosted by Tufts University.

This is the first in our series of posts celebrating Black History Month. Throughout February we will be posting about resources and landmark writings in black studies. Click here or on the Black studies category on the right to see a continuously updated page of links to all of our posts in this category.

Below, an excerpt from a performance of Takai, a Dagomba dance that involves the striking of metal rods in the dancers’ hands and swirling movements that are enhanced by their flaring costumes.

Related post: Traditional Ghanaian sampling

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Filed under Africa, Dance, Resources

Scots-Irish music

Created by Dick Glasgow in 2006, Scots-Irish music presents information on the traditional instruments and music of Ulster, with additional information on the music’s relocation in the U.S. Appalachian region. The site includes numerous links to other online resources relevant to Ulster’s musical traditions.

The giant lambeg drum, above, is typically heard with traditional Ulster fife playing (below).

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Filed under Europe, Resources

Surva: Dancing for the unripe year

On 14 January, which is both New Year’s Day and the Feast of St. Basil according to the old Orthodox calendar, villagers in Bulgaria and Macedonia perform the costumed ceremonial dance known as  Сурва (Surva, “unripe year”). Children between 4 and 14 years old participate in the малечка Сурва (small Surva), while adults between 15 and 35 perform in the голема Сурва (big Surva).

small surva 3On the eve of the event, youths go from house to house collecting wood for the ceremonial bonfire. In the morning the participants choose their roles and don the corresponding masks and sheepskin capes. The stock characters may include a groom, a bride, a devil, a priest, a gypsy, and a dancer with a bear. To the accompaniment of drums and shawms, the dancers parade through the village with abundant comical antics. The ceremony culminates with a spirited dance around the collective bonfire.

This according to “Сурварските обичаи од неколку струмички села” (Old customs performed on New Year’s day in villages of the Strumičko region) by Ivan Kotev, an essay included in Rad XIX kongresa Saveza Udruženja Folklorista Jugoslavije (Skopje: Združenie na Folkloristite na Makedonija, 1977, pp. 207–212). Below, Surva in Krupnik, Bulgaria.

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Filed under Dance, Europe, World music

Vodici: A midwinter swim

In Macedonia the Synaxis of St. John the Baptist on 7 January is celebrated with Vodici, a musical ceremony that involves the high priest throwing a cross into a nearby body of water.

The waters are baptized through this act, but the real attraction is the local youths plunging into the icy water to retrieve the cross. The one who finds it becomes a local hero, and is believed to be blessed for the entire ensuing year.

This according to “Водичарски обреди и водичарско певање у Македонији” (The Vodici ritual and singing in Macedonia) by Rodna Veličkovska in Научни скуп Дани Владе Милошевића: Зборник радова (The conference Dani Vlade Miloševića: Collection of essays; Banja Luka: Akademija Umjetnosti, 2008).

Below, excerpts from the church and waterside ceremonies in Bitola.

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The Joe Heaney Archives

Seosamh Ó hÉanaí (Joe Heaney, 1919–84) was considered by many to be the finest Irish traditional singer of his generation. Born and raised in rural western Ireland, over his lifetime he brought his vast repertoire of sean-nós (old-style) songs and stories, and his majestic, richly ornamented performances of them, to audiences around the world.

Cartlann Sheosaimh Uí Éanaí/Joe Heaney Archives, launched by Ollscoil na hÉireann, Gaillimh/National University of Ireland, Galway in 2010, is a repository of recordings of Heaney’s singing, storytelling, and traditional lore in both Irish and English, along with videos, interviews, transcriptions, translations, and notes. Below, Heaney sings Contae Mhaigh Eo; the images are views of his native Connemara.

 

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