Module 4 Learning Resources Discussion (Initial Post due Thursday) 2123

As you reflect on the Learning Resources you have engaged with this week, choose one question from the list below. Respond to the question by writing a minimum of 250 words. Initial posts are due by Thursday, with responses to peers due on multiple days through Sunday.

So-called musical Africanisms are pervasive features of many music traditions outside of Africa, especially traditions that belong to or have been influenced by African diasporic culture. Listen to and discuss a range of music that is familiar to you. What Africanisms do you hear? What effect do they have on how the music sounds and what emotions do they bring?

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An integral relationship between language and music is a feature of many styles and traditions of music worldwide. How do language and music combine and reinforce one another in the kinds of music you listen to? Can you think of instances in which the line between what constitutes speech and constitutes music blurs?

 

The American musician Taj Mahal has made a career of breaking down conventional musical boundaries and redefining world music as worldly music. Do some research on Mahal and locate recordings and videos of his that represent the range and diversity of his music. Write a report describing how Mahal has combined his musical founding in blues music, his broad conceptions of “African” music as encompassing all forms of African and African diasporic music expression, and his cosmopolitanism as a world music adventurer and pioneer.

 

Locate videos and recordings representing several different African and African diasporic music traditions such as Brazilian samba, Trinidadian calypso, American funk and hip-hop, Ghanaian highlife and South African mbaqanga. What distinctive features do you hear in each? Are there any underlying elements that cut across some or all of them?

 

After learning about the role jelilu, jelimusolu, or griots (praise singers) serve in Mande society in the Learning Resources, think of musicians (classical, folk, popular or other musical genres) who serve as griots in contemporary society in the United States. How might they claim that role? What awareness of the long standing tradition of African griots can you detect in their artistry?

Grading

 

Discussion assignments are worth 36% of the course grade, 4% for each discussion. Please view the attached grading rubric to learn how to earn the full score for the discussion.

 

Making the initial post by Thursday and significant engagement with peers and the instructor on multiple days are encouraged and rewarded.

 

one post and two replies ARE ALL PART OF THE ORDER

 

Here are the two posts that need replies and your work should look like them:

Countney :

So-Called musical Africanisms are pervasive features of many traditions outside of Africa, especially traditions that belong to our have been influenced by African Diaspora culture.
Music of African traditions was established during the period of slavery.Slaves had no access to instruments, their vocals is all they had. Their voice took on a whole new meaning. From chants to work songs of people from African descent, which preserved their African heritage. Songs would accompany marriage, birth, rites of passage, and hunting.Also to ward off evil spirits and pay respect to good spirits, the dead and ancestors.Africanism; African-American became secular in the 19 th century. African music traditions set the foundation for what would become as American music. For instance the Blues music is a secular genre that combines African elements withEnglish , Celtic folk rhythms. Also African music became the foundation for jazz in New Orleans.
Once the adoption of the Jim Crow law, where freed slaves were all equal, this innovation led to all African – American music that followed, which includes blues, jazz, rhythm and blues, rock n roll, soul music, jazz rock fusion, disco, funk and hip hop. All most all of these genres can be traced back to the musical elements derived from West Africa during the formation of the blues genre. I believe that the culturally powerful, spiritual and socially conscious music has continued to unite and inspire people from across the world.Which are strongly believed to inspire, love , joy, peace , redemption and harmony.

 

 

 

Brittney:

After learning about the role jelilu, jelimusolu, or griots (praise singers) serve in Mande society in the Learning Resources, think of musicians (classical, folk, popular or other musical genres) who serve as griots in contemporary society in the United States. How might they claim that role? What awareness of the long standing tradition of African griots can you detect in their artistry?

 

The role that the praise singers served in Mande society was large and very important to their culture. They were talented and what they did was viewed as a very special art. It still is viewed as this today but I feel it was given more respect in history than it is now. They were specific about who was allowed to play their music because it was very important and special to them. The Jelilu men of Mande culture used instruments and the women were more typically the vocalists. The difference in that today is that men and woman both play instruments and are vocalist praise singers. Our reading resource this week also mentions how it is frowned upon for people of non-jeli families to practice the art of jeliya or to play jeli instruments. This is different from today’s christianity praise music because they are much more inclusive. The long standing tradition of African griots can be seen in how the praise singers of the Mande culture and the praise singers of today both sing their worship and share their talents with others. It is important to both groups, that their voices are heard and their beliefs are shared. There are praise singers in today’s culture that may claim the role in contemporary society like the group Hillsong UNITED, Elevation Workshop, Tenth Adventure North or singers like Lauren Daigle, Zach Williams, and Josh Turner.

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