Samuel Boateng: 810761502

STYLES OF MUSIC IN AFRICA

Prof. Kazadi wa Mukuna
Introduction
Africa, although marred in a history of slavery and political unrest, prides
itself in a plethora of creative and performance art forms. From Egyptian
hieroglyphics to the prehistoric terracotta pottery figures from the Nok culture
of Nigeria, it is obvious that it is not devoid of artistic spirit. This paper will focus
on the music of Africaan aspect of the continents performance arts that has
puzzled and astounded both scholars and the world outside of its borders. In
view of this, I will follow with a very brief overview of the continent.

As the second largest continent, Africa is occupied by one-tenth of the worlds

population who speak close to one thousand indigenous languages and post
slave trade adapted languages including English, French and Portuguese. The
culture and language of North African societies reveal influences from the Arabic
world in the Middle East while Southern African societies share strong cultural
resemblances with Europe. In addition, further diversification ensued as early
African states interacted through trade, wars and diplomatic relations, which
were generally accompanied by the borrowing and transferring of aspects of
external culture like music and language.

On African music styles

Nketia in The Music of Africa argues that the music that immerged from
Arabic and European interactions must be removed from the family of

indigenous African music. He insists that on stylistic grounds, their classical, folk
and popular idioms are very distant from those of other African societies. The
African element in this category of music, however, cannot be denied, hence,
with this in mind, the scope of this paper will briefly outline the Arabic and
European influences in African music while focusing on the indigenous music
styles.
Islam
The Arabic world gained ground in North Africa by the mid seventh
century and spread through trade and holy wars waged by Islamized societies to
subjugate neighboring countries. Nketia, (1974). This was quickly followed by
the adoption of Arabic musical styles and instruments, which then became
prominent in the courts and music of Maghreb kingdoms. Instruments like
Aerophones and drums didnt only influence the playing of music, they also
served as models for the making of local equivalents. He further notes that terms
for instruments including ghaita and bendair were borrowed from Arabic
languages.
European influence
European contact in Africa was promoted through Christianity, trade and
colonial rule. Christian missionaries associated African music with paganism, as
such, discouraged its converts from indulging in them. Therefore, they
introduced western music notation, scales and hymns for services. Europeans
masters trained African musicians to play marches, polkas and waltz to
entertained officers who worked in the castles and forts. Instruments like the
guitar, organ and harmonica arrived at the shores of Africa through trade and

European contact. Many popular music styles developed from this, including the
Highlife style from Ghana.
Traditional Music
At this point it is essential to emphasize that music making in Africa and
the cultural makeup of the continent thrive as functions of each other. Thus,
music is always performed in a context guided by traditions and functionalities
that determine its styles, performers, instrumental recourses and performance
practices. The third style of African music falls under this ideology.
Life Cycle Music
These are traditional music styles that mark the stages in the life of the
Africa. They are songs that convey sentiments appropriate with a particular life
event such as birth, puberty, marriage and death. B. A. Aning (1973) remarks
that:
Among the Ashanti of Ghana, the first day of the six-day long puberty
celebration of a girl is marked with special ceremonial music In central
and eastern Africa, and especially in the Sambaa area of Tanzania, special
songs are sung before circumcision, immediately after circumcision while
the wounds are healing, and later after the wounds have healed and the
candidates are returning home The Bemba, in addition, have songs that
they sing for the return from the burial and songs to be sung for "the
renewal of the village fire," which was extinguished immediately after the
burial. These mourning songs are usually distinguished by their
characteristic singing style as well as by the text and body movements
that accompany the singing

Occupational music
This is music associated with labor. One person or a group of people can sing it
to serve as stimulus for work. E.g. Fishermen on the coastal Ghana will sing
rhythmic songs as they pull in their catch to shore.
Recreational music
These are songs performed mainly for recreational purposes. A typical example
is the repertory of kpanlogo music from Ghana.
Religious music
These songs are mostly restricted to those who belong to a particular traditional
religion or cult. Examples include The Akom and Tigare dances from West Africa.
Aning notes again:
The bagyendanwa, for example, is a symbolic sacred drum among the
Ankole of Ugandawho organizes a special cult around it.
Conclusion
The influences on the styles of African music vary from region to region,
however, these differences are what come together to make the continent a
musical force to recon with. In fact, aspects of music, including the concept of
rhythmic assembly, in African music continuously fascinate scholars and have
prompted several research and literature. (Collins 1989)

Bibliography
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Perspective in Music ( Foundation for Research in the Afro-American Creative
Arts) I, no. I (1973): 16-23.
Collins, John. "The Early History of West African Highlife Music." Popular Music
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