African Drumming. A Study Abroad Experience in Ghana. Marti Bowles

Transcription

1 African Drumming A Study Abroad Experience in Ghana Marti Bowles

2 How Can I Study Abroad? Where do you want to go? What do you want to study? Meet with your Study Abroad Program advisors Research other university programs Look at courses that can transfer for required credit

3 Scholarships Find a way for other people to pay for you to study abroad! Study Abroad Program Scholarships Honors Scholarships Benjamin A. Gilman International Scholarship

4 West Africa Area

5 Ghana 10 Geographic and Cultural Regions Approximately the size of the state of Oregon English is the primary language, with over 6 cultural languages Surrounded by Frenchspeaking countries

6 University of Ghana Over 20,000 Students School of Performing Arts Music, Culture, Psychology Introduction to Drumming Drumming Practical African Traditional Ensemble Private Drumming Lessons Music of West and Central Africa Guidance and Counseling Traditional Dance Twi Language Course

7 Honors Thesis Utah State University Honors Program Undergraduate Thesis Conducted research while participating in study abroad African drumming: An examination of drumming in Ghana, its intentions, and applications in music therapy practice

8 Non-Verbal Communication West African tonal languages (Carrington, 1949) For hundreds of years, African musicians have incorporated the natural sounds of speech into the production of music (Bebey, 1975) Drum tones are used for communication between tribes and villages (Nketia, 1992) African Talking Drums Atumpan (female, high pitch) Akasaa (male, low pitch)

9 Non-Verbal Communication Drums used for communicating messages (Nketia, 1963) Warning signals Death announcement Call for gathering Marking parts of a ritual Direct movements for dancers Hourglass Drum Dundun, or Dunno Tension drum with strings to stretch the membrane and alter pitch Many different combinations of tone sets are possible with these drums

10 Self-Expression and Improvisation The aim of an African musician is simply to express life in all of its aspects through the medium of sound (Bebey, 1975) Expressions of personal experiences as well as community life (Nketia, 1992) Musician can improvise through a set of free variations which are the spontaneous creation of the master drummer (Jones, 1959) African Djembe Improvisatory Instrument Bass, slap, open hit variations

11 Djembe Rhythms

12 Group Support and Unity Within traditional African societies, the process of music making is usually structured as a social event This ensemble style music strengthens social bonds unites community members encourages involvement in collective behavior deepens values that inspire cooperative life (Nketia 1992)

13 Group Support and Unity Community music making (Nketia, 1992) Provide an opportunity for sharing in creative experience Participate in music as a form of community experience Avenue for expression of group sentiments A shared joy is doubled, a shared sorrow is halved (Fiagbedzi, 2012) Traditional African drum ensemble Bell, rattle, first supporting drum, second supporting drum, master drum

14 Group Support and Unity Bell and rattle provide steady reference beat pattern Supporting drum parts are interlocking in a hocket Master drum is the solo instrument, most complex rhythms Master drummer can improvise on the set of patterns and rhythms

15 Drum Ensemble Sikhyi

16 Incredible Music Experience University of Ghana School of Performing Arts Mid Semester Performance Drumming Practical Peace

17 Incredible Music Experience University of Ghana School of Performing Arts End of Semester Performance African Traditional Ensemble Nights of Musical Panorama

18 Applications to Music Therapy Definite connection discovered between African drumming and drumming as it is used for therapeutic purposes in music therapy Increase knowledge of multicultural music and the benefits it can have as it is implemented in therapy Need for more undergraduate percussion training

19 Questions?

20 African Traditional Ensemble

21 References Bebey, F. (1975). African music: A people's art. (pp. 1-16). Westport, CT: Lawrence Hill & Company, Publishers, Inc. Carrington, J. (1949). The talking drums of Africa. (pp. 7-10, 21-39). London, England: The Carey Kingsgate Press. Fiagbedzi, E. (2012, 08 27). Interview by M.C. Bowles [Personal Interview]. Music of West and Central Africa. Jones, A. M. (1959). Studies in African music. (pp. 1-15). London, England: Oxford Univeristy Press. Nketia, J. H. K. (1992). The music of Africa. (pp , , ). London, England: W. W. Norton & Company, Inc. Nketia, J. H. K. (1963). African music in Ghana. (pp ). Evanston, IL: Northwestern University Press