Context Module Two

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Context Module Two: Spring 2002 (please click this button)






These questions are purposely somewhat open ended to encourage you to think and to explore the broader context of some of the pieces we are rehearsing this semester. No partial credit is given. This module must be completed on time and in its entirety in order to receive credit.

Two selections in the second half of our Spring Concert are from the African nation of Ghana: Wonfa Nyem and Vamudara.

I. Vamudara, especially, illustrates poly and cross rhythms. Such devices have cultural meanings among sub Saharan peoples. According to C.K. Ladzekpo:

"In the cultural understanding, the technique of polyrhythm simply asserts the highly unpredictable occurrences of obstacles in human life. They occur without a warning. It reinforces the need for the development of a strong and productive purpose built on a foundation of adequate preparation for life.

These real-life meanings of cross rhythmic techniques were repeatedly driven home to me as I grew up gradually in a traditional Anlo-Ewe community. In this community, dance drumming is an integral part of the life of everyone from the moment of birth. A training in dance drumming is an essential part of the larger comprehensive preparation of every child for a productive and fulfilled participation in adult life. In this community, artistic elements are not abstract phenomena. They assume real-life characters. A main beat scheme represents a strong purpose in life and a secondary beat scheme represents an obstacle. Tension created by the customary ordering of these characters conveys a number of ideas simultaneously.

As a child going through this normal routines of Anlo-Ewe upbringing, my lack of subtleties in performing new sophisticated rhythmic contrasts were frequently criticized as lack of a strong sense of purpose capable of regulating the dynamics of contrasting obstacles in life. Blocking off a beat scheme to ease the hostility between opposing beat schemes of unfamiliar rhythmic contrast was often severely punished as my avoidance of the real challenges of life. A rare guidance in the proper management of opposing beat schemes of a rhythmic contrast was usually in form of a large dose of philosophy such as: to solve a problem, you must convert obstacles into stepping stones."

Try your hand at learning some African 12/8 polyrhythmic structures by tapping the seven-stroke time line with your strong hand; keeping the four main beats with your feet; and vocalizing the beat scheme (one-two or one-two-three).

1. Did you find it easy or hard? Why?



2. Do you think cultural meanings adhere to rhythmic patterns commonly found in western, Euro-centric art music? If so, what might they be? If not, why not?



II. Wonfa Nyem

Most of the other compositions on our concert invite us to strive for excellent vocal technique and accurate note reading, while assuming that our audience will sit and listen quietly as these scores are performed. Not so with music from southern Africa. Anyone can sing any part. Parts can be embellished, omitted, or entirely new ones added at will. The audience can participate physically as well as mentally. As John Blacking observes, "It is the process of music making that is valued as much as, and sometimes more than, the finished product." This music is about expressing human relationships more than the repetitive rendering of musical manuscripts.

3. What do you think are the strengths and weaknesses of this philosophy of music-making? If you were from Ghana, what might you think of our performances of "Lauda Sion" and "Chichester Psalms"?



4. Read the notes about the meaning and cultural context of "Wonfa Nyem" found in your score. What should a performance of this song be all about? And what might we as a choir do to make it successful?