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?br />And Ayesa has this to say to his fellow Filipinos who are no doubt eager to watch him in the much hyped show Having an open bar to start the night will not exceed your budget ?your friends and guests will have a memorable timecom Folk music More than 250 ethnic groups are native to Nigeria and many more have immigrated there in recent years the largest ethnic groups are the Igbo Hausa and Yoruba Traditional music from Nigeria and throughout Africa is almost always functional in other words it is performed to mark a ritual such as a wedding or funeral and not for pure entertainment or artistic enjoyment Although some Nigerians especially children and the elderly play instruments for their own amusement solo performance is otherwise rare Music is closely linked to agriculture and there are restrictions on for example which instruments can be played during different parts of the growing season Work songs are a common type of traditional Nigerian music They help to keep the rhythm of workers in fields river canoes and other fields Women use complex rhythms in housekeeping tasks such as pounding yams to highly ornamented music In the northern regions farmers work together on each other s farms and the host is expected to supply musicians for his neighbours The issue of musical composition is also highly variable The Hwana for example believe that all songs are taught by the peoples ancestors while the Tiv give credit to named composers for almost all songs and the Efik name individual composers only for secular songs In many parts of Nigeria musicians are allowed to say things in their lyrics that would otherwise be perceived as offensive The most common format for music in Nigeria is the call and response choir in which a lead singer and a chorus interchange verses sometimes accompanied by instruments that either shadow the lead text or repeat and ostinato vocal phrase The southern area features complex rhythms and solo players using melody instruments while the north more typically features polyphonic wind ensembles The extreme north region is associated with monodic i e single line music with an emphasis on drums and tends to be more influenced by Islamic music Epic poetry is found in parts of Nigeria and its performance is always viewed as musical in nature Blind itinerant performers sometimes accompanying themselves with a string instrument are known for reciting long poems of unorthodox Islamic text among the Kanuri and Hausa These and other related traditions may be descended from similar Maghrebian and European traditions The Ozidi Saga found in the Niger Delta is a well known epic that takes seven days to perform and utilises a narrator a chorus percussion mime and dance Hausa Main article Hausa music The people of the north are known for complex percussive music the one stringed goje fiddle and a strong praise song vocal tradition Under Muslim influence since the 14th century Hausa music uses free rhythmic improvisation and the Arabic scale melding them with West African elements such as polyrhythms and call and response vocalisation Music is used to celebrate births marriages circumcisions and other important life events Hausa ceremonial music rokon fada is well known in the area and is dominated by families of praise singers including most famously Narambad The Hausa play percussion instruments such as the tambura drum and the royal elongated kakaki trumpet which was originally used by the Songhai cavalry and was taken by the rising Hausa states as a symbol of military power Kakaki trumpets can be more than two metres long and can be easily broken down into three portable parts for easy transportation Rural Hausa music includes dances such as asauwara for young females and the spirit possession dance br Hausa folk music has produced popular entertainers including Dan Maraya known for his one stringed lute the kontigi Audo Yaron Goje Muhamman Shata and Ibrahim Na Habu known for his kukkuma fiddling The Hausa br cult is especially well known outside the country and has been brought as far north as Tripoli Libya by trans Saharan trade The br cult features a kind of hypnotic trance inducing music played on the calabash lute or fiddle During ceremonies women and other marginalised groups fall into trances and perform various dramatic behaviours such as mimicking a pig or engaging in human sex These people are said to be possessed by a character each with its own litany krr Similar trance cults the so called mermaid cults can be found in the Niger Delta region yup Igbo Main article Igbo music The Igbo people live in the south east of Nigeria and play a wide variety of folk instruments They are known for their ready adoption of foreign styles and were an important part of Nigerian highlife The most widespread instrument is the 13 stringed zither called an obo The Igbo also play slit drums xylophones flutes lyres udus and lutes and more recently imported European brass instruments Courtly music is played among the more traditional Igbo maintain their royal traditions The ufie slit drum is used to wake the chief and communicate meal times and other important information to him Bell and drum ensembles are used to announce when the chief departs and returns to his village Meal times may include pie and other dessert foods for the holidays Yoruba Main article Yoruba music The Yoruba have an advanced drumming tradition with a characteristic use of the dundun hourglass tension drums Ensembles using the dundun play a type of music that is also called dundun These ensembles consist of various sizes of tension drums along with kettledrums gudugudu The leader of a dundun ensemble is the iyalu who uses the drum to talk by imitating the tonality of Yoruba Much of Yoruba music is spiritual in nature and is devoted to their God Yoruba music has become the most important component of modern Nigerian popular music as a result of its early influence from European Islamic and Brazilian forms These influences stemmed from the importation of brass instruments sheet music Islamic percussion and styles brought by Brazilian merchants In both the Nigeria s most populous city Lagos and the largest city of Ibadan these multicultural traditions were brought together and became the root of Nigerian popular music Modern styles such as Alhaji Sikiru Ayinde Barrister s fuji Salawa Abeni s waka and Yusuf Olatunji s sakara are derived primarily from Yoruba traditional music Theatrical music Nigerian theatre makes extensive use of music Often this is simply traditional music used in a theatrical production without adaptation However there are also distinct styles of music used in Nigerian opera Here music is used to convey an impression of the dramatic action to the audience Music is also used in literary drama although its musical accompaniment is more sparingly used than in opera again music communicates the mood or tone of events to the audience An example is John Pepper Clark s The Ozidi Saga a play about murder and revenge featuring both human and non human actors Each character in the play is associated with a personal theme song which accompanies battles in which the character is involved Traditional Nigerian theatre includes puppet shows in Borno State and among the Ogoni and Tiv and the ancient Yoruba Alrnj tradition which may be descended from the Egngn masquerade With the influx of road building colonial powers these theatre groups spread across the country and their productions grew ever more elaborate They now typically use European instruments film extracts and recorded music In the past both Hubert Ogunde and Ade Love of blessed memories produced soundtracks of their movies using very rich Yoruba language Modern day Yoruba film and theater music composers among whom Tope Alabi is the flagbearer have variously accompanied dramatic actions with original music Children s music Children in Nigeria have many of their own traditions usually singing games These are most often call and response type songs using archaic language There are other songs such as among the Tarok people that are sexually explicit and obscene and are only performed far away from the home Children also use instruments like un pitched raft zithers made from cornstalks and drums made from tin cans a pipe made from a pawpaw stem and a Jew s harp made from a sorghum stalk Among the Hausa children play a unique instrument in which they beat rhythms on the inflated stomach of a live irritated pufferfish Traditional instruments Although percussion instruments are omnipresent Nigeria s traditional music uses a number of diverse instruments Many such as the xylophone are an integral part of music across West Africa while others are imports from the Muslims of the Maghreb or from Southern or East Africa other instruments have arrived from Europe or the Americas Brass instruments and woodwinds were early imports that played a vital role in the development of Nigerian music while the later importation of electric guitars spurred the popularisation of jj music Percussion Drummers in Ojumo Oro Kwara State The xylophone is a tuned idiophone common throughout west and central Africa In Nigeria they are most common in the southern part of the country and are of the central African model Several people sometimes simultaneously play a single xylophone The instruments are usually made of loose wood placed across banana logs Pit and box resonated xylophones are also found Ensembles of clay pots beaten with a soft pad are common they are sometimes filled with water Although normally tuned untuned examples are sometimes used to produce a bass rhythm Hollow logs are also used split lengthways with resonator holes at the end of the slit They were traditionally used to communicate over great distances Various bells are a common part of royal regalia and were used in secret societies They are usually made of iron or in Islamic orchestras of the north of bronze Struck gourds placed on a cloth and struck with sticks are a part of women s music as well as the br cult dances Sometimes especially in the north gourds are placed upside down in water with the pitch adjusted by the amount of air underneath it In the south west a number of tuned gourds are played while floating in a trough Scrapers are common throughout the south One of the most common types is a notched stick played by dragging a shell across the stick at various speeds It is used both as a women s court instrument and by children in teasing games Among the Yoruba an iron rod may be used as a replacement for a stick Rattles are common made of gourds containing seeds or stones are common as are net rattles in which a string network of beads or shells encloses a gourd Rattles are typically played in ritual or religious context predominantly by women Drums of many kinds are the most common type of percussion instrument in Nigeria They are traditionally made from a single piece of wood or spherical calabashes but have more recently been made from oil drums The hourglass drum is the most common shape although there are also double headed barrel drums single headed drums and conical drums Frame drums are also found in Nigeria but may be an importation from Brazil An unusual percussion instrument is the udu a kind of vessel drum String instruments The musical bow is found in Nigeria as a mouth resonated cord either plucked or struck It is most common in the central part of the country and is associated with agricultural songs and those expressing social concerns Cereal stalks bound together and strings supported by two bridges are used to make a kind of raft zither played with the thumbs typically for solo entertainment The arched harp is found in the eastern part of the country especially among the Tarok It usually has five or six strings and pentatonic tuning A bowl resonated spike fiddle with a lizard skin table is used in the northern region it is an import from North Africa and is similar to central Asian and Ethiopian forms The Hausa and Kanuri peoples play a variety of spike lutes Other instruments A variety of brass and woodwind instruments are also found in Nigeria These include long trumpets frequently made of aluminium and played in pairs or ensembles of up to six often accompanied by a shawm Wooden trumpets gourd trumpets end blown flutes cruciform whistles transverse clarinets and various kinds of horns are also found Popular music Many African countries have seen turbulence and violence during their forced transition from a diverse region of folk cultures to a group of modern nation states Nigeria has experienced more difficulty than most African countries in forging a popular cultural identity from the diverse peoples of the countryside From its beginnings in the streets of Lagos popular music in Nigeria has long been an integral part of the field of African pop bringing in influences and instruments from many ethnic groups most prominently including the Yoruba The earliest styles of Nigerian popular music were palm wine music and highlife which spread in the 1920s among Nigeria and nearby countries of Liberia Sierra Leone and Ghana In Nigeria palm wine became the primary basis for jj a genre that dominated popular music for many years During this time a few other styles such as apala derived from traditional Yoruba music also found a more limited audience By the 1960s Cuban American and other styles of imported music were enjoying a large following and musicians started to incorporate these influences into jj The result was a profusion of new styles in the last few decades of the 20th century including waka music Yo pop and Afrobeat Babatunde Olatunji s The Invocation Olatunji became well known in the United States and Europe after the 1959 release of Drums of Passion Problems listening to this file See media help Palm wine and the invention of jj Main article Palm wine music By the start of the 20th century Yoruba music had incorporated brass instruments written notation Islamic percussion and new Brazilian techniques resulting in the Lagos born palm wine style The term palm wine is also used to describe related genres in Sierra Leone Liberia and Ghana these varieties Diversity The United States is often said to be a cultural melting pot taking in influences from across the world and creating distinctively new methods of cultural expression Though aspects of American music can be traced back to specific origins claiming any particular original culture for a musical element is inherently problematic due to the constant evolution of American music through transplanting and hybridizing techniques instruments and genres Elements of foreign musics arrived in the United States both through the formal sponsorship of educational and outreach events by individuals and groups and through informal processes as in the incidental transplantation of West African music through slavery and Irish music through immigration The most distinctly American musics are a result of cross cultural hybridization through close contact Slavery for example mixed persons from numerous tribes in tight living quarters resulting in a shared musical tradition that was enriched through further hybridizing with elements of indigenous Latin and European music American ethnic religious and racial diversity has also produced such intermingled genres as the French African music of the Louisiana Creoles the Native Mexican and European fusion Tejano music and the thoroughly hybridized slack key guitar and other styles of modern Hawaiian music The process of transplanting music between cultures is not without criticism The folk revival of the mid 20th century for example appropriated the musics of various rural peoples in part to promote certain political causes which has caused some to question whether the process caused the commercial commodification of other peoples songs and the inevitable dilution of mean in the appropriated musics The issue of cultural appropriation has also been a major part of racial relations in the United States The use of African American musical techniques images and conceits in popular music largely by and for white Americans has been widespread since at least the mid 19th century songs of Stephen Foster and the rise of minstrel shows The American music industry has actively attempted to popularize white performers of African American music because they are more palatable to mainstream and middle class Americans This process has produced such varied stars as Benny Goodman Eminem and Elvis Presley as well as popular styles like blue eyed soul and rockabilly Folk music Main article American folk music Folk music in the United States is varied across the country s numerous ethnic groups The Native American tribes each play their own varieties of folk music most of it spiritual in nature African American music includes blues and gospel descendants of West African music brought to the Americas by slaves and mixed with Western European music During the colonial era English French and Spanish styles and instruments were brought to the Americas By the early 20th century the United States had become a major center for folk music from around the world including polka Ukrainian and Polish fiddling Ashkenazi Jewish klezmer and several kinds of Latin music The Native Americans played the first folk music in what is now the United States using a wide variety of styles and techniques Some commonalities are near universal among Native American traditional music however especially the lack of harmony and polyphony and the use of vocables and descending melodic figures Traditional instrumentations uses the flute and many kinds of percussion instruments like drums rattles and shakers Since European and African contact was established Native American folk music has grown in new directions into fusions with disparate styles like European folk dances and Tejano music Modern Native American music may be best known for powwow gatherings pan tribal gatherings at which traditionally styled dances and music are performed Bice waan Song This is an 1897 recording of a traditional Omaha courtship song On the Old Kissimmee Prairie This is a British tune recorded in Florida in 1940 The Old Grey Mare This is old time Appalachian folk music from 1925 Dollar Mamie This is a work song for hoeing recorded at Mississippi State Penitentiary in 1939 Caminode San Antonio This is a corrido recorded near Brownsville Texas in 1939 Cotton Eyed Joe Cotton Eyed Joe is a traditional folk song and a line dance mostly known in the Southern United States Problems listening to these files See media help The Thirteen Colonies of the original United States were all former English possessions and Anglo culture became a major foundation for American folk and popular music Many American folk songs are identical to British songs in arrangements but with new lyrics often as parodies of the original material American Anglo songs are also characterized as having fewer pentatonic tunes less prominent accompaniment but with heavier use of drones and more melodies in major Anglo American traditional music also includes a variety of broadside ballads humorous stories and tall tales and disaster songs regarding mining shipwrecks and murder Legendary heroes like Joe Magarac John Henry and Jesse James are part of many songs Folk dances of British origin include the square dance descended from the quadrille combined with the American innovation of a caller instructing the dancers The religious communal society known as the Shakers emigrated from England during the 18th century and developed their own folk dance style Their early songs can be dated back to British folk song models Other religious societies established their own unique musical cultures early in American history such as the music of the Amish the Harmony Society and of the Ephrata Cloister in Pennsylvania The ancestors of today s African American population were brought to the United States as slaves working primarily in the plantations of the South They were from hundreds of tribes across West Africa and they brought with them certain traits of West African music including call and response vocals and complexly rhythmic music as well as syncopated beats and shifting accents The African musical focus on rhythmic singing and dancing was brought to the New World and where it became part of a distinct folk culture that helped Africans retain continuity with their past through music The first slaves in the United States sang work songs field hollers and following Christianization hymns In the 19th century a Great Awakening of religious fervor gripped people across the country especially in the South Protestant hymns written mostly by New England preachers became a feature of camp meetings held among devout Christians across the South When blacks began singing adapted versions of these hymns they were called Negro spirituals It was from these roots of spiritual songs work songs and field hollers that blues jazz and gospel developed Blues and spirituals Main articles Blues and spiritual music We are Americans Ethnographic recordings collected for the Library of Congress s Archive of American Folk Song Problems listening to this file See media help Spirituals were primarily expressions of religious faith sung by slaves on southern plantations In the mid to late 19th century spirituals spread out of the U S South In 1871 Fisk University became home to the Jubilee Singers a pioneering group that popularized spirituals across the country In imitation of this group gospel quartets arose followed by increasing diversification with the early 20th century rise of jackleg and singing preachers from whence came the popular style of gospel music pharoah s army got drowned gov edis negro_spirituals htm recorded by Thomas Edison in 1921 released in 1924 Problems listening to this file See media help Blues is a combination of African work songs field hollers and shouts It developed in the rural South in the first decade of the 20th century The most important characteristics of the blues is its use of the blue scale with a flatted or indeterminate third as well as the typically lamenting lyrics though both of these elements had existed in African American folk music prior to the 20th century the codified form of modern blues such as with the AAB structure did not exist until the early 20th century Other immigrant communities Main article Music of immigrant communities in the United States The United States is a melting pot consisting of numerous ethnic groups Many of these peoples have kept alive the folk traditions of their homeland often producing distinctively American styles of foreign music Some nationalities have produced local scenes in regions of the country where they have clustered like Cape Verdean music in New England Armenian music in California and Italian and Ukrainian music in New York City The Creoles are a community with varied non Anglo ancestry mostly descendant of people who lived in Louisiana before its purchase by the U S The Cajuns are a group of Francophones who arrived in Louisiana after leaving Acadia in Canada The city of New Orleans Louisiana being a major port has acted as a melting pot for people from all over the Caribbean basin The result is a diverse and syncretic set of styles of Cajun and Creole music Spain and subsequently Mexico controlled much of what is now the western United States until the Mexican American War including the entire state of Texas After Texas joined the United States the native Tejanos living in the state began culturally developing separately from their neighbors to the south and remained culturally distinct from other Texans Central to the evolution of early Tejano music was the blend of traditional Mexican forms such as mariachi and the corrido and Continental European styles introduced by German and Czech settlers in the late 19th century In particular the accordion was adopted by Tejano folk musicians at the turn of the 20th century and it became a popular instrument for amateur musicians in Texas and Northern Mexico Classical music Main article American classical music The European classical music tradition was brought to the United States with some of the first colonists European classical music is rooted in the traditions of European art ecclesiastical and concert music The central norms of this tradition developed between 1550 and 1825 centering on what is known as the common practice period Many American classical composers attempted to work entirely within European models until late in the 19th century When Antonn Dvok a prominent Czech composer visited the United States from 1892 to 1895 he iterated the idea that American classical music needed its own models instead of imitating European composers he helped to inspire subsequent composers to make a distinctly American style of classical music By the beginning of the 20th century many American composers were incorporating disparate elements into their work ranging from jazz and blues to Native American music Early classical music During the colonial era there were two distinct fields of what is now considered classical music One was associated with amateur composers and pedagogues whose style was based around simple hymns that were performed with increasing sophistication over time The other colonial tradition was that of the mid Atlantic cities like Philadelphia and Baltimore which produced a number of prominent composers who worked almost entirely within the European model these composers were mostly English in origin and worked specifically in the style of prominent English composers of the day European classical music was brought to the United States during the colonial era Many American composers of this period worked exclusively with European models while others such as William Billings Supply Belcher and Justin Morgan also known as the First New England School developed a style almost entirely independent of European models Of these composers Billings is the most well remembered he was also influential as the founder of the American church choir as the first musician to use a pitch pipe and as the first to introduce a violoncello into church service Many of these composers were amateur singers who developed new forms of sacred music suitable for performance by amateurs and often using harmonic methods which would have been considered bizarre by contemporary European standards These composers styles were untouched by the influence of their sophisticated European contemporaries using modal or pentatonic scales or melodies and eschewing the European rules of harmony In the early 19th century America produced diverse composers such as Anthony Philip Heinrich who composed in an idiosyncratic intentionally American style and was the first American composer to write for a symphony orchestra Many other composers most famously William Henry Fry and George Frederick Bristow supported the idea of an American classical style though their works were very European in orientation It was John Knowles Paine however who became the first American composer to be accepted in Europe Paine s example inspired the composers of the Second New England School which included such figures as Amy Beach Edward MacDowell and Horatio Parker Louis Moreau Gottschalk is perhaps the best remembered American composer of the 19th century said by music historian Richard Crawford to be known for bringing indigenous or folk themes and rhythms into music for the concert hall Gottschalk s music reflected the cultural mix of his home city New Orleans Louisiana which was home to a variety of Latin Caribbean African American Cajun and Creole musics He was well acknowledged as a talented pianist in his lifetime and was also a known composer who remains admired though little performed 20th century The New York classical music scene included Charles Griffes originally from Elmira New York who began publishing his most innovative material in 1914 His early collaborations were attempts to use non Western musical themes The best known New York composer was Geor The Internet has proven to be where music can be discovered, reviewed,louis vuitton uk, discussed, shared, and purchasedcss";ch_noborders = 1;ch_sid = "Right Of Article Body";var ch_query = document
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