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In Sub-Saharan African cultures, call and response is a pervasive 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. Most of the call and response practices found in modern culture originated in Sub-Saharan Africa. [3]
Another distinguishing form of African music is its call-and-response style: one voice or instrument plays a short melodic phrase, and that phrase is echoed by another voice or instrument. The call-and-response nature extends to the rhythm, where one drum will play a rhythmic pattern, echoed by another drum playing the same pattern.
The call and response format became a diasporic tradition, and it was part of Africans and African Americans creating a new, unique tradition in the United States. [ 3 ] While slave masters encouraged conversion of slaves to Christianity, African slaves still practiced their own form of religious celebration, which was called Slave Christianity .
Geo-political map of Africa divided for ethnomusicological purposes, after Merriam, 1959. Alan P. Merriam divided Africa into seven regions for ethnomusicological purposes, observing current political frontiers (see map), and this article follows this division as far as possible in surveying the music of ethnic groups in Africa.
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The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody. The banjo is a direct descendant of the Akonting created by the Jola people, found in Senegal, Gambia and Guinea-Bissau in West Africa. Hence, the melodic traditions of the African diaspora are probably most alive in blues and jazz.
The call and response format showcases the ways in which work songs foster dialogue. The importance of dialogue is illuminated in many African-American traditions and continues on to the present day. [12] Particular to the African call and response tradition is the overlapping of the call and response. [13]
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