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The tradition of call and response fosters dialogue and its legacy continues today, as it is an important component of oral traditions. Both African-American women work songs, African American work songs, and the work song, in general, use the call-and-response format often.
In some African cultures, call-and-response is a widespread pattern of democratic participation—in public gatherings, in the discussion of civic affairs, in religious rituals, as well as in vocal and instrumental musical expression (see call and response in music). African bondsmen and bondswomen in the Americas continued this practice over ...
Particular to the African call and response tradition is the overlapping of the call and response. [3] The leader's part might overlap with the response, thus creating a unique collaborative sound. Similarly, African-American folk and traditional music focuses on polyphony, rather than a melody with a harmony. [3]
The call and response type of song is usual in Africa [sic]. African [Ewe] melodies are diatonic: the major exception being the sequence dominant-sharpened subdominant-dominant. Short triplets are occasionally used. The teleological trend: many African [Ewe] songs lean towards the ends of the lines: it is at the ends where they are likely to ...
An early description is from 1853 and the first recordings are from the 1930s. The holler is closely related to the call and response of work songs and arhoolies. The Afro-American music form ultimately influenced strands of African American music, such as the blues and thereby rhythm and blues, as well as negro spirituals. [2]
The song is based on a call and responses system, which is widely present in the music of West Africa. Call: Se Se Se Ioooo Response: Aho Aho Ahoooo Call: Se Se Se Iooo Response: Aho Aho Ahoooo ALL: Enyo o Egble o ahooo Ne meku Agbadzawua nadim hee Ne meku Agbadzawua nadim hee Ne mekua Kiniwua nadi hee Ne makua Kiniwua nadi hee [9]
Music of the African diaspora is a sound created, produced, or inspired by Black people, ... (the call-and-response pattern) and syncopation. [18] ...
The song was sung by working miners in time with the rhythm of swinging their axes to dig. It was usually sung under hardship in call and response style (one man singing a solo line and the rest of the group responding by copying him). [1] It was also sung by prisoners in call and response style using alto and soprano parts divided by row.