Defining and Interpreting African Music
When it comes to actually define African music we have to come to an understanding of what is African music, could it be understood as music made by Africans or music that has African elements but also what could “African elements be”? So we have to begin by asking ourselves about the etymology of being African and what is music, before dwelling.
It is said that Africans are people who originate from the African continent. But what about those who were actually born in Europe or somewhere in the United States. Do we then consider them as pure Africans or do we accept them from the get-go? Because it is sad to also get those Africans born overseas but only consider themselves as Africans when they see that they would benefit from it. It is now that we understand that the statement that African music is music made by Africans is not the simplest. It is suggested that students get encouraged to dig a little deeper into the different meanings attached to the term (African Music) so that one can bring the best of awareness to the use of it.
When we speak of music, one is either able to have words to a song, sing, drum, and play but with it is said that music appears to be semantically diffuse. The absence of a word in a language doesn’t take away from its actual concept nor does it mean the none existence of a specific behavior designated by the concept. The presence of sound is as significant as silence. Sound cannot be created without silence.
John Blacking makes use of the word “Socially” to indicate the presence of human originators and enclose the domain of his theory of music-making. And states very clearly that it isn’t to deny that Crickets, Frogs and whales don’t make music. The idea is simply to stress the presence of a socialized human agent at the beginning of the creative act. Blacking goes on to explain that it's not always that there is a thought process behind every composition. He states that it Is mostly sparked by randomness and no calculated thought process. He also mentions that the acceptability of certain organized sounds varies from community to community. It is said that in most cases, music; because it is indispensable. And because it includes and at the very same time transcends languages more on a practical note and It is often that it leads us into spaces that are higher than the actual language J H Kwabena goes on to explain how he uses the term “African music” in the singular by simply stating that there’s a broad range of musical practices associated mainly with the traditional layer of society. This is strongly emphasized on excluding the music of white settler populations that have invaded the northern and southern areas of the continent including the musical cultures of the north with their distinct Arabic influence.
Meki Nzwei also believes and accepts the singular view and mentions some interesting points, along the lines of him believing that there is an African field of musical sounds and the idea of ‘field’ enables him to begin his analysis at the highest level. He also argues that when placed alongside other world music cultures, it is true that the African difference is immediately felt.
Musicianship
Musicianship all in all requires a specific arrangement of center aptitudes. These aptitudes are similarly significant, and the request of introduction here isn't intended to suggest that any one expertise precedes another. Every one of the aptitudes is an essential ability and ought to be considered simultaneously, not successively.
These essential aptitudes are for the most part identified with playing an instrument (voice is viewed as an instrument), singing (additionally for instrumentalists), being musically educated (perusing and composing music), and playing or singing with others in a gathering. Additionally, it's essential to build up a decent stable, be exact with notes and cadence, figure out how to form, ad-lib, mastermind music for and direct gatherings, speak with the group of spectators, and to manufacture a huge collection.
LeRoi Jones states that music-making results from certain attributes and ways of thinking about the world of which I agree with because there are a lot of other things that come into play for instance: Feelings and emotion, these are things that enhance a musician’s musicality, whether its on stage, in-studio or at home composing. It is said that the concepts “master musician” and “master drummer” have been applied mostly to the West African musical arts, even though they aren’t regarded as African terms, but are terms preferably used by European and American researchers to discuss musicianship in the African environment. It is interestingly a term that has to do with the way master-musician-led ensembles run.
Relationships between musicians and their hosts/audience
In the article Israel mentions challenges faced e.g a bandmate being ill and perhaps arriving a bit late for their performance but through having a relationship with the host, upon their arrival the other group was on stage finishing up, making way for the made band the audience had been waiting for. To perform “ukom”. When appearing for a gig you have been booked for, it is important for the host to welcome you and for you to feel at home. It is through great musicianship for one to arrive at a gig on time unless one faces transport problems or any other valid reason. It is through great musicianship to continuously communicate with the event organizer as all times for less worries on Hosts. In the article, Israel trusts that the character of his 'ukom' execution reflected not just his very own aesthetic and passionate elucidation yet, in addition, the stylish taste of different individuals from his general public.
Defining and interpreting African Music (Reflection)
The one and only thing that captured me was the actual heading of the article, “Defining and interpreting African Music” which is something I have been interested in from the beginning of my drumming career. I fell in love with African rhythms, Sounds, and how it mostly exemplifies/define/resembles the African community. But when I started reading the article I realized that this is actually deeper than I thought and especially when the writer began to break down the word “African” and what defines African people, and who are the people of Africa (Because you do get those born in Europe and other places other than Africa who could come to claim). This was when I realized that “African Music” is a “made by Africans” statement isn’t the simplest way to put it, there is more to it. The article didn’t go into depth as I expected it to but from the information I received was enough for me to actually understand the writer's thought process.
I without a doubt truly like how John Blacking sees music. It is something near my own special point of view. I was delighted by they way he stated, he doesn't deny that Crickets, Frogs, and whales make music and don't detract from nature since it is that equivalent nature that animates inventiveness in a composer. The irregular sounds, the strides of an elephant, the heap thunder of a lion are generally sounded one can utilize in music. Furthermore, who is to state that creatures detest real music themselves? This manner of thinking brought me such a great amount of bliss as I am happy to see that there are individuals out there that really get roused from visuals to a real savannah like the manner in which I do. Meki Nzwei later explained on inventiveness as referenced previously. He proceeded to talk about how he likewise considers African To be as solitary and trusting that there is an African field of melodic hints of which I accepted it as him alluding to something like a Nature save of some looked for where one can sit around evening time and tune in to all the delightful sounds that leave a genuine field, and this originates from Animals moving from spot to another, feathered creatures twittering, Tress moving, elephants snorting like hints of trumpet or French horn and so forth…
In end to this reflection on Defining and Interpreting African Music, I have genuinely taken in a great deal on the most proficient method to understand things from with an improved point of view regarding Music Articles. This has empowered me to have the option to convey what needs be on a lot larger amount and have an incredible progression of things when coming to comparative themes.
Musicianship (Reflection)
- Music-making does indeed come from certain attributes and ways of thinking about the world which makes so much sense to me because as a composer of music I often have images in my head which allow me to translate into music.
- I believe Musicianship is one of those phrases that are often used, but scarcely thought of. We want our students to acquire musicianship as music teachers, but we don't necessarily go out of our way in learning it specifically. We teach abilities a lot of the moment, and then assume that musicianship will follow automatically. In education, however, it is often the situation that we believe in the transfer of understanding.
- Great skill as a player or singer is obvious, but great musicianship is the thing that makes that technical display into something powerful and moving.
- You’d figure that everyone who plays music practices “musicianship”, and almost everyone does to some extent.
- We believe students ' understanding will make them go unnoticed on their own. Often, we need to direct learners by transferring understanding from one implementation to another, or from one skill stage to the next. So it's about moving abilities to musicianship exercise.
- Implicit in this view is that music is the highest level of musical thinking and performing it's what do music words large elite performers are doing to make their plays stand out above the remainder. Musicianship can not be deemed as just what a musician is doing, because some of what a musician is doing can not be considered musicianship practice. Knowing how to practice and fingering, Notes and other items must precede the practice of music, but technical issues relating to the handling of a tool do not add up to the bar of what music is. Knowing what to perform is not part of musicianship, but understanding how to perform and perform that manner shows musicianship.
- As a musician, it is important to acquire technique and vocabulary.
- You need to have a large enough vocabulary to have choices when a choice is required.
- You need to have the physical ability to execute those choices. But there are aspects of this that work on a sliding scale if you will.
- If you play a specific style of music, especially one with some history behind it, there’s a well-established precedent for what the “right” thing to play might be.
Two Critical Questions
Defining and interpreting African music
- What is the reason for the writer to introduce the article by dissecting the word “African”?
Musicianship
- Why didn’t the writer go more in-depth about musicianship?
References
- Agawu, 2003, Defining and interpreting African music, Musical arts in Africa, theory pactice and music education,1-4, Unisa Press University of South Africa PO Box 392, Unisa, 003
- Nixion, Uzoigwe, Kigozi, 2003, Musicianship, Musical arts in Africa, theory practice and music education, 52-58, Unisa Press University of South Africa PO Box 392, Unisa, 003
