African Drum and Dance is a popular area event in many parts of the world. Many of the drummers and dancers who frequent these different events are visiting drummers from Africa. It is interesting that most of the rhythms used at these events are derived from Ghana music whether authentic musicians are present or otherwise. In some areas, there are weekend seminars and workshop related solely to Ghanian drum and dance found in Ghana and other regions of Africa.
North and South Ghana have very different musical taste. Northern traditions come from Sahelian traditions. Sahelian features a combination of melody and stringed instruments. Some common instruments in the North and South are the kologo lute and the gonjey fiddle, wind instruments, voice, drums and percussion.
Set to a minor chromatic or pentatonic scale, notes flows almost effortlessly with these combination of instruments and voice. Praise singing is also a popular form in the area. Griot, somewhat like mild chanting or story telling is also quite popular. Most often, regardless of style, vocals are accompanied by some type of drums, bells or stringed instrument.
Set to a chromatic and pentatonic scale, melody plays a major role in different arrangements. Vocal styles are also an important element. One reason why the praise singing and griot traditions remain alive and well in the region.
Coastal styles are often associated with social functions. These style rhythms rely on complex patterns played on bells and drums. Like many other parts of Africa, there is also a strong correlation between drum and dance. One of the most popular attractions at many festivals and shows in the United States and around the world are that of African drummers and dancers from Ghana.
Coastal tunes can also be associated with many traditional religions. One exception to this rule is material from the Seperewa harp-lute whose origins are in the stringed harps of the North and West. The most well known drums of southern Ghanian drum traditions is that of the adowa and kete drum ensembles with bells.
In 1957, Ghana won her independence. Since that time, it has developed quite a musical identity. For example, the 20th century saw the onset of pop and dance pop. Pop-dance has continued in popularity over the years even with the introduction of Highlife and Hiplife.
High-life combines elements of soukous, ska, rock, jazz and swing. Ghanian traditions found a pathway into the United States in the late 60s and early 70s. While successful, it was not the level of success some had expected. The music also became popular albeit only briefly in the U. K. One of the main success stories of Ghanian music is that Osibisa's Afro-rock which became quite well known in the 1970s.
Guitar bands and other genres were popular during the 70s. Prior to that time, music of the depression, 40s, 50s, and 60s was often more easy listening than rock and roll. Later, when German-Highlife took over the scene, a rendition of burger-highlife was also founded by Ghanian based Germans. George Darko has always been one of the best known musicians of Ghana, partly because he founded this new genre of polka like rock and roll.
North and South Ghana have very different musical taste. Northern traditions come from Sahelian traditions. Sahelian features a combination of melody and stringed instruments. Some common instruments in the North and South are the kologo lute and the gonjey fiddle, wind instruments, voice, drums and percussion.
Set to a minor chromatic or pentatonic scale, notes flows almost effortlessly with these combination of instruments and voice. Praise singing is also a popular form in the area. Griot, somewhat like mild chanting or story telling is also quite popular. Most often, regardless of style, vocals are accompanied by some type of drums, bells or stringed instrument.
Set to a chromatic and pentatonic scale, melody plays a major role in different arrangements. Vocal styles are also an important element. One reason why the praise singing and griot traditions remain alive and well in the region.
Coastal styles are often associated with social functions. These style rhythms rely on complex patterns played on bells and drums. Like many other parts of Africa, there is also a strong correlation between drum and dance. One of the most popular attractions at many festivals and shows in the United States and around the world are that of African drummers and dancers from Ghana.
Coastal tunes can also be associated with many traditional religions. One exception to this rule is material from the Seperewa harp-lute whose origins are in the stringed harps of the North and West. The most well known drums of southern Ghanian drum traditions is that of the adowa and kete drum ensembles with bells.
In 1957, Ghana won her independence. Since that time, it has developed quite a musical identity. For example, the 20th century saw the onset of pop and dance pop. Pop-dance has continued in popularity over the years even with the introduction of Highlife and Hiplife.
High-life combines elements of soukous, ska, rock, jazz and swing. Ghanian traditions found a pathway into the United States in the late 60s and early 70s. While successful, it was not the level of success some had expected. The music also became popular albeit only briefly in the U. K. One of the main success stories of Ghanian music is that Osibisa's Afro-rock which became quite well known in the 1970s.
Guitar bands and other genres were popular during the 70s. Prior to that time, music of the depression, 40s, 50s, and 60s was often more easy listening than rock and roll. Later, when German-Highlife took over the scene, a rendition of burger-highlife was also founded by Ghanian based Germans. George Darko has always been one of the best known musicians of Ghana, partly because he founded this new genre of polka like rock and roll.
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