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These beats harken to the stylings of a variety of traditional African drum beats across West Africa as well as the precursory genre Afrobeat. [32] The beat in Afrobeats music is not just a base for the melody, but acts as a major character of the song, taking a lead role that is sometimes equal to or of greater importance than the lyrics and ...
Afrobeat (also known as Afrofunk [3] [4]) is a West African music genre, fusing influences from Yoruba music [5] [6] and Ghanaian music (such as highlife), [7] with American funk, jazz, and soul influences.
By 1996–97, there was a steady flow of UK based hard house that threw away the fun and uplifting parts to incorporate the "Hoover" & other gritty, menacing sounding elements at a slightly higher tempo than the conventional hard house and thus, the style effectively became known as "Nu-NRG" when Blu Peter coined the phrase in a magazine interview.
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Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm, or hemiola. [15]: 26 The song begins with the bass repeatedly playing 6 cross-beats per each measure of 12 8, or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2).
Afrobeats: The Backstory is a documentary series that delves into the rise and global influence of Afrobeats, a genre of music that originated in Nigeria.Directed by Nigerian filmmaker Ayo Shonaiya, the series premiered on Netflix on 29 June 2022, offering an in-depth look at the cultural, political, and social landscape that shaped the Afrobeats sound, as well as its growth.
Non-commercial African-American radio stations promoted African music as part of their cultural and political missions in the 1960s and 1970s. African music also found eager audiences at Historically Black colleges and universities (HBCUs) and appealed particularly to activists in the civil rights and Black Power movements. [26]