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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]
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.
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 method, similar to garaya in Hausa traditional music, involves call-and-response singing, hand-clapping, and cymbals called krakeb (plural of karkaba). Gnawa ceremonies use music and dance to evoke ancestral saints who are said to perform the healing. Gnawa music has won an international profile and appeal.
African popular music has contributed distinct rhythms, melodies, and vocal styles that have deeply influenced various global genres. Many global styles incorporate African call-and-response patterns, improvisation, and polyrhythms. “Jazz music, blues music, and gospel music all grew from African roots.
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The call-and-response structure is an intuitive structure that can be found in the music of many cultures. In popular music it can be traced instead to the 4-bar antecedent and consequent structure in classical music, especially since the calls and responses are so intertwined with cadences on the dominant and the tonic, which are derived from ...