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Readings on African drumming - Page 4 - Djembefola - Djembe Forum

Discuss traditional rhythms, singing etc
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By the kid
Nice find. If you want to read it in english at least, you can download the pdf and cut out the literature and google translate it. Just checked it and it can be done easily.

http://www.mansacamio.de/wp-content/upl ... ythmen.pdf

A rough table of contents plus the Introduction (Chapter 1). Needs to be edited in some instances, to be more accurate, m'kay.

I Nature and culture space of the Malinke
The location and situation Baros
2.L National Geographic Information
2.2 Statistical data and figures of the UN
2.3 traditional economy 13
The Malinke
3.1 Ethnic group and language
3.2 Historical development
3.2.1 West Africa before the arrival of Europeans.
3.2.2 Slave trade and colonization
3.2.3 History and history of the Republic of Guinea
3.3 Social structures of society
3.3.1 Patriarchal extended family. ,
3.3.2 Age groups.
3.3.3 Occupational groups.
3.4 Socialization and the spiritual world.
3.4.1 Ancestors and spirits - the religion
3.4.2 Time concept
3.4.3 Education
II music theory
4 Differences from African to European music

5.1 The drums of the ensemble
5.1.1 The Djembe
5.L.2 The bass drums
6 African rhythm and form
6.1 Elementary pulsation
6.2 Beat and Ofi-beat
6.3 Form numbers
6.4 Pattern
Organization of the musical figure
7.L cross rhythm, correlation rhythm
7.2 Design agent
Integration into the social environment
8.1 Connection of rhythm, dance and song
8.1.1, Tlommeln and Language
8.L.2 drum and dance

7.3 possibilities for improvisation and variation 77
III Music and Context 79

11 conclusion
12 Appendix- The Myth of Mande
9 drum events 92
Public FestederDorfgemeinschaft ..... 93
9.2 Rituals of age groups 99
9.3 Private celebrations ... 104
10 Function and task of the drum rhythms IOT
l0.LKommunikation ..108
10.2 Create community. , 109
10.3 Identity Experiences .... 111

Chapter 1
The diploma thesis "Drum rhythms of the Malinke in Baro and their social
Context "is broad and includes musicological and ethnological aspects
and their linkage in a way of life that the Malinke in Guinea, West Africa
have developed.
My own fascination with drumming led me to this topic. I myself
Play the rhythms of Malinke for almost exactly a decade. My first
Journey to Guinea brought me in 1992 during a workshop with Famoudou Konate
in Conakry with the urban drum culture in touch, which changed
and 'secularized' by their ritual meanings.
The following year, in the winter of 1993, my current husband Peter
Lange and his friend Wolfgang Gerauer, both accomplished percussionists, up
the search for an authentic master drummer of traditional drum rhythms.
By a recommendation Fanta Kabasl, they learned after weeks,
fun in the bush, Mansa Camio, in his village Baro know. Within
a short time ago she combined the joy of drumming and they realized that
they had in fact discovered a master of djembe who was in his village
is a significant part of a living drum culture.
This was the beginning of a fruitful collaboration, as Camio came in 1994
for the first time to Germany and thus I got to know him. In the next
Years ago I organized concerts and workshops for Camio's annual visits
in Europe and we too, Peter and I, traveled back to Baro rhythmically
further education. In addition, I got insights into social relationships,
for the profound knowledge of Camio and his willingness to tell, breastfeed
the curiosity and illuminated connections about the nature of the rhythms that
in turn raised many questions.
rFanta Kaba is a dancer and has been a soloist in the State Ballet Africain for more than 20 years.
Figure 1.1: The situation of the Republic of Guinea. McNally, p. 134.
During those eight years, Camio and I spent many hours together
the drums, talking at home and last but not least in the car. Through this temporal
Intensity I got besides content information also his way of thinking
and the nourishing energy.
I experienced a fascinating otherness that I now have in this thesis
to mediate from different sides. I want a big bow
and both the interested outsider and the passionate
Allow drummers an enriching access to this other world and
thus also the frequently mediated picture of the catastrophic, enacting
Relativize Africans.
The African ethnic groups and - according to my theme - the Malinke
in their social system a cultural wealth and social and political
Complexity developed. You do not need to compare with this
other civilized nations shy away. Different living conditions have become one
Society whose leading pillars are alien to us. One of them is music
and dance.
If you try to understand an unknown music culture, you need it
detailed background knowledge. Nobody is free from intercultural projections,
but they can be reduced by talking about lifestyle, history, values
and standards.
In the first part of my work I start with the conditions under which
Malinke live. Furthermore, I will briefly summarize their story and then
on the current social structures and the values ​​behind the forms of socialization
stand by. So it's about the living conditions that make up these
Drum rhythms have arisen.
In the second, music theory part, I first compare the differences between
African and European music and then give an overview of the
Instruments of the Malinke, then on the Djembe and the accompanying them
To obtain bass drums. Following, I analyze the structural principles of
single drum voices and lead the musical organization of the whole
Drum ensemble.
The following third part deals with the social characteristics of music. Characteristic
is the abundance of social references and meanings. To represent these
is possible, because due to their integration into higher sensory contexts,
the drum rhythms are strongly normalized, in terms of the musical
Content as well as the occasions and processes of the performances. This part is one
Synthesis of part one and two and concludes with functions and tasks of '
Drum rhythms.
In my statements, I refer to Baro, a village on the savanna plateau
of the upper Niger, where two to three thousand people live. Let it be safe
to transfer the principles there and thereby generalize.
There were difficulties on the linguistic level, as I only liked the Malinke
fragmented powerful. I conducted the interviews with Camio a
Looks like this place is mostly dead, but someone recommended that I post this here. A couple of years back I finished a thesis related to Guinean music and dance. It was an academic requirement and isn't a completely polished book, but it is free to read, and somebody here might find some of it interesting or useful. If I recall, I made mention of this message board at least once. Anyway, here's the link:

https://digital.lib.washington.edu/rese ... _18161.pdf

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