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Kumina's distinctive drumming style became one of the roots of Rastafarian drumming, itself the source of the distinctive Jamaican rhythm heard in ska, rocksteady and reggae. The modern intertwining of Jamaican religion and music can be traced back to the 1860s, when the Pocomania and Revival Zion churches drew on African traditions, and ...
Niyabinghi rhythms were largely a creation of Count Ossie, who incorporated influences from traditional Jamaican Kumina drumming (especially the form of the drums themselves) with songs and rhythms learned from the recordings of Nigerian musician Babatunde Olatunji.
Many credit this song as being the first digital rhythm in reggae, featuring a rhythm from a digital keyboard. However, The "Sleng Teng" rhythm was used in over 200 subsequent recordings. This deejay-led, largely synthesized chanting with musical accompaniment departed from traditional conceptions of Jamaican popular musical entertainment.
Ska emerged in the late 1950s as Jamaica's first truly modern music genre. It combined elements of mento, American jazz, rhythm and blues, and Caribbean calypso. Known for its upbeat tempo, offbeat guitar strumming, and prominent brass sections, ska became a symbol of national pride in post-independence Jamaica.
Linkages from folk music to mento are described in Daniel T. Neely's dissertation, Mento, Jamaica's Original Music: Development, Tourism and the Nationalist Frame (New York University, 2007). Among the best known Jamaican folk songs are "Day-O (Banana Boat Song)", "Jamaica Farewell" (Iron Bar), and "Linstead Market".
Kumina is an Afro-Jamaican religion, dance and music form. Kumina has practices that include secular ceremonies, dance and music that developed from the beliefs and traditions brought to the island by Kongo enslaved people and indentured labourers, from the Congo region of West Central Africa, during the post-emancipation era. [1]
Her interest in traditional Jamaican and African music was reflected in her work with the NDTC, with Nettleford describing Whylie's understanding of traditional music as critical to its artistic direction, and her enthusiasm for Jamaican rhythms has been influential in Jamaican music generally. [5] [7]
The traditional instrumentation for a conjunto típico (traditional band), the usual performing group of folk merengue, is a diatonic accordion, a two–sided drum, called a tambora, held on the lap, and a güira. A güira is a percussion instrument that sounds like a maraca. It is a sheet of metal with small bumps on it (created with hammer ...