| Main regions of the African continent |
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| Sub-sahara, Sahara Desert, Pan-Arabic region (North Africa) |
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| Listening track: Ghana (two total) |
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| Polyrhythmic drum ensemble AND a talking drum (the boy alternating speech with drumming) |
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| Juju popular music. Drums, guitar, voice (choir and leader), bass, talking drum, organ |
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| Pygmy tribe: yodeling vocals densely layered, simple percussion, call and response |
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| Listening: Senegal/Gambia |
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| Kora and voice: a praise song |
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| Listening: South Africa (two total) |
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| Zulu Mbube choir. A cappella singing |
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| Who created the borders of African nations, and what problem does this create? |
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| The European colonizers, not the Africans. Thus, the people groups (cultures) were split between countries. |
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| CONCEPT: communal nature of Africans and African music |
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| (from lecture, “10 Generalizations of Sub-Saharan music” points 1-6) |
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| CONCEPT: 4 specific traits of African music |
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| (from lecture, “10 Generalizations of Sub-Saharan music” points 7-10): Polyrhythmic, built on layers of ostinatos, often conversational in nature, often uses buzzing sounds |
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| when music is learned through everyday activities and exposure, rather than through formal teaching. |
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| a mix of African folk music and Western pop music, especially popular in West Africa. |
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| the popular music of Nigeria (a sub-genre of “Afro-pop”) |
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| South African a cappella choirs, from the townships. |
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| the poet-singers of Senegal & Gambia who use the Kora to sing Praise Songs |
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| a song sung in honor of a person. (In this book, associated with Senegal/Gambia and the Kora players) |
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| a genre of music of the Congo Pygmies where they literally drum on water. |
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| What instrument holds the polyrythmic music of Ghana together? |
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| Which country we studied uses their music for a spirit possession ceremony? |
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| Zimbabwe, while playing the Mbira |
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