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By Kofi Agawu

The certain caliber of African tune lies in its rhythmic constitution and scholarly paintings in this tune has frequently under pressure drumming because the website at which 'complex' rhythms are cultivated. Kofi Agawu argues that drumming is just one between numerous modes of rhythmic expression and extra fruitful method of the knowledge of African song is thru spoken language. during this ebook, he constructs a soundscape of the Northern Ewe humans of Ghana which demonstrates the pervasiveness of a number of types of rhythmic expression of their day-by-day lives. He then devotes a bankruptcy each one to an research of rhythm in language, track, drumming and dancing, musical functionality and folks narration. A concluding bankruptcy addresses a number of the ideological components that experience encouraged the illustration of African rhythm. An accompanying CD allows the reader to paintings heavily with the speech and track mentioned.

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Extra resources for African Rhythm: A Northern Ewe Perspective

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I J. me kpl~ k¢ va yic kp! :I-nye kpl:l k¢ vt yic k:po T:l-nye woe! J'J Ip J lJ IJ: 1:=: I) J JiJ U. JJ 1:1 nye '-' ee k¢ vt yic k:p6o JI kpl~ IJ'J E - tsi kp! vt yic ee E - tsi me kpl~ k¢ IJ IJ. :I nye ere. 8. Farm song (Agbleha) In Akpafu-Aq:Jlo, a number of children gather in an open space to perform a children's dance, Ilikpi. This vigorous, moderately paced music is performed on homemade instruments, usually hollowed tins or cans with a membrane stretched over the open end. The dance is a simple side-to-side movement, with plenty of room for embellishment.

They seem to be dearing the path, announcing the imminent arrival of the chief and his entourage. Next in line is a group of women singing and dancing Gb%, a popular recreational dance. Then comes the queen mother and her entourage, flanked by numerous supporters and 17 African rhythm admirers, many trading slogans and appellations. Following is the paramount chief himself, carried in a palanquin by six men. Although he sits with a dignified pose most of the time, he stands up from time to time to dance, carving out elegantly restrained movements that convey qualities of bravery, strength, and authority.

The onset of darkness in Northern Eweland signifies both ending and beginning. The working day ends here for many rural people, and it is followed by a dense network of formal and informal musical activities, some of it ritually determined, some of it totally spontaneous. It is as if the Northern Ewe care for their bodies by day and their souls or spirits by night. In Kpando, members of Mr. J. This recreational music dates back to the 1950S, and is big in Kpando, although it is now widely performed not only elsewhere in Northern Eweland but also in parts of the country where there is a significant Ewe presence.

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