IL “If you can walk, you can dance. If you can talk, you can sing.” —a saying from Zimbabwe MAUSICING IN AFRICA AND THE DIASPORA Pan Arabic Empire Sudanic Belt Dr. Jerry Kerlin, PresenterBIBLIOGRAPHY Adzinyah, Abraham Kobena, Dumisani Maraire, and Judith Cook Tucker 1986/1997 Let Your Voice Be Heard: Songs from Ghana and Zimbabwe. Rev. ed, Danbury, CT: World Music Press, ‘Amoaku, W. K 1871 African Songs and Rhythms for Children: Orff Schulwerk in the African Tradition. New York: Schott. Companion recording Smithsonian Folkways 45011 Barz, Gregory 2004 Music in East Africa: Experiencing Music, Expressing Culture. New York: Oxford University Press. Berliner, Paul 1978 The Soul of Mbira. Berkeley: University of California Press. Boshkoff, Ruth, and Kathy Sorensen 1995 The OAKE Collection: Multicultural Songs, Games, and Dances. Fargo, NO: Organization of American Kodaly Educators. Chernoff, John Miller 1981 African Rhythm and African Sensibility. Chicago: University of Chicago Press, Dembele, Adama nd. Adama Dembele: Burkina Faso. CD produced by the performer. Contact: Adama Dembele: telephone (973) 409-1030, (862) 215-8764; email adembeletr@yahoo fr Global Songs—Local Voices: Songs of Faith and Liberation from Around the World. 1895 Minneapolis: Bread for the Journey. Jessup, Lynne 1996 All Hands Onl: An Introduction to West Airican Percussion Ensembles, Rev. ed. Atro-Ensemble: A Beginning Book. Danbury, CT: World Music Press Kreutzer, Natalie J 2003 Zimbabwe Children’s Singing Games: Twenty Singing Games and Dances in the ‘Shona Language for Children, DVD. Boise, iD: ITS Video Production Center, University of Idaho. Lyon, Caroline, trans. and arr. 1993 thoyiya: Ten South African Songs. Trans, and arr. Caroline Lyon. Brooklyn, NY: Cultura! Bridge Choral Innovations. Interactive audiocassette tape. Olson, Howard 8. 1993 Set Free: A Collection of African Hymns. Minneapolis: Augsburg Fortress. Schmid, Wall 1998 World Music Drumming: A Cross-Cultural Curriculum. Milwaukee: Hal Leonard Corporation. ‘Serwadda, W. Moses 1974/1987 Songs and Stories from Uganda. Trans. and ed. Hewitt Pataleoni Danbury, CT: World Music Press. Stone, Ruth 2004 Music in West Africa: Experiencing Music, Expressing Culture, New York: Oxford University Press. wa Mukuna, Kadadi, and Elizabeth Ochrie 1996 Chapter 7: Sub-Saharan African Music. In Multicultural Perspectives in Music Education, 2d ed., William M. Anderson and Patricia Shehan Campbell, eds. Reston, VA; Music Educators National Conference.Banaha Congolese folk song (public domain) do-la-da, Yak si-ne-la-du_ba-pa ha. Si - si Si - si do-la-da, — Ya-ku si-ne-Ia-du_ ba-na ba, Bana he, Ba-na - ha, Ya-ku si-ne Ia-du - ba-na ha, Ba-na he, Ba-na - he, Ya-ku si-ne Ia-du - bana ha wv na = ha Ba-na ~ ha, D.C. al Fine Ha Ba-na - ha, Yorku sine la- du ba-na ha Pronunciation Guide ‘Transliterat Written Phonetic Si see At the foot of the pineapple tree, Do doe ‘Yak Iadles a banana into his aunt's red hat. le lah da dah Program note: Ya yah ku koo ‘The song Banaha has a mysterious background — there is more ne neh unknown about the song than there is known. The song is from the du doo Congo and has been used for many types of occasions, including a ba bah wedding processional. The language 1s unknown (Congolese refers t0 na nah the nationality, not a language) — there are 61 living languages present ha hah in the Congo.Bhombella (Danis G] isiZulu F108 tn me ss fm dlr dé ate 8 insmomad jr ded Bhombe - la, bhom-be-la we-sti-me-la! Bhom be - la, bhom-be-la we-sti-me-la! U- © 6 ys s:d Mb rh ded |x aid thet [ss sm |r +5 + = - = Z NS oe SS SSS ma-mawe-nza-ni? E - vi-shaba-ntwa-na! U-ma-mawe-nza-ni? E - vi-sha-ba-twna-na! English. A third class train What is mother doing? She is hitting the children, Children kneel in a circle, facing the center, eachholding a pebble (right hand). Children tap pebble in front of them on beats 1 and 3 of the chorus. ‘On the verse, children pass pebble to the left (on beats I and 3). Whoever has more than one pebble at the end of the chorus is out. Keep going until there is one winner, EXTRA: Change direction. Before the start of the verse the leader can call out left or right direction. Source Kathy M. Robinson Music of South Africa Northern New Jersey Orff-Schulwerk Association Saturday, October 21, 2000 Transcribed by Cari R. Stromberg, using Sibelius Softwarre, July 7, 2001NEW YORK UNIVERSITY TRADITIONAL SONG COLLECTION title: Hwerure ethnic and geographic origin: Zimbabwe Ge) eo Oe Oo i Hwe-ru- re, Hwe- tu - re. A Hwe- pu = re. Hwe- ru~ re. Ror re om oP Om om oR Tou-ro | i- ke ra- ra KI ymuts-w2 ne = mbga Tiu-ro j-ko mus ika i:kd_pot-wa_ne = mbga Hwe Hwe Hwe Hwe, Hwe Hwe Hwe Hwe —— = en Te ais seg one, weed Fok, sich, bee cap wa rift hanks Aa He Hove ets et tb the shining From ter tone set of source: form: scale name cadences ae ae ae pacoere nese Mallu se; Saat Dane ange RQ: Organization oF Amminican Kody Hecatea Kokoieoko West African = Ko-ko-le-o - ko, ma-ma, ko-ko-le-o cat ko, el ant 2 SSS= SSS = = = Korko-le-o = ko, chick-en, crom-in’ for day. 2) Ba areset =| ma-ma a- by, a- by —— : T hese eo eae | A- by, chicken crow-in’ Ge day, TRE - 1 RS im 3) Dy a a cr Take | { : “4 your time | Ma-ma, (Zee your time — | SSS “Take your time, chicken Grw-in’ for day, N 0THE ERSITY OF CALGARY TRADI Oh IAL SONG COLLECTION te: Kye Kye Kule ethnic and geographic origin: Call “response exercise song of the Akan peeple of Ghana al: Pespense Leader singe and taps head Pe WN Hiren Kye Kye ku- ie, Kye ye ku- te i Coty for 89) ; + i lee eg Z E Kye hye nea, Kye ke ke isa, Cehay ohay sah) i po ' puts Hands on wie & & y wists Foul times er errs Fe yo rtp eons With nvemen Ckoh-fee sgh fahn- gan), Kakashi tans gaa chi ta, kah- koh shee lahn- gah uum —a~ den - de, a-den- de, “adende " Group echoes together: Cherm ah dehn~ day’) kum with movernent. a — : - Ale gpack-aniiese lem wait on cadena and ae den- de, ney! throw herds up and shout “shea! Kum These Akan words hare ne particular meanieg. fone set of source a seals names cadences; feed syllables; Buti number of measure: 5 pedagogical use: ee colecton resource: Abraham Kebena Adzenysh, eke Let Your Voice Ge nese! Senge fa Tinswahue, Danbury, Conn. Welt 1447 rev-ed., pages 34-94.THE UNIVERSITY OF CALGARY TRADITIONAL SONG COLLECTION tte: Dooa Asi Me Nsa ethnic and geographic origin: sthhe Dassing fame frem the Akan people of Ghana UA 8 A 8 Aca aA) 2 = be asi me Wea Wana 2 be (en ~bwah see mee sah nahenoh) ask me ps2, D- bee asi me ns na na 2-02 asime na. —Enftish Fhe tock“ crashed my tramak gran rma -Cor wher pela tre garnes: Agra stine “B pass stone tap fork Br pass reek Crest Foe JT_tap_ stone faa stene- Dp cep fone set of source: fom: scale name: os eee syftables: nytt: ‘number of measures: ) Pedagogical use: pei Coaeetiad resource: Alpraham Kabena Adze ‘Dumisani Maraire, and Judith Let Your Veiee Be Heard ‘Bnd Zimbabwe. Dana 6WERSITY TR ONAL SON tte: Sorida ethnic and aooerephic ofan hand game from the Shona people of Zimbabwe A Bo Cc 8e¢ eee raeae ec ja ri da viv da, Sort da, sev fi-da ri— da ri-da = = _da_da, dada da Ti- da Mi- da, = = Teepe ————— ye ape Ts Da_da da, ne da oe tie da ri-da. ‘and game: Partniers—sit- or _ stand facing each vther—Partners-Whoke-o-hand-sandwich@— fone partner the “Filling, ihe “thee the “bread * artners hit ack of right Nands-tagecher-(alsy- subst B: Partners parts forearms, knees, ob eta) —————— Fach partner claps hee/his-oun hands _ POTTER TACs = Pie hii pi ea — 1: Partners hit left palms across *Sorida” is a Shona word oF Greeting Tike “shalom ig Hebrew. fone sot of source: ae scale name: oe org: slobioe: shyteen: number of measures: Pedagogical use: pee colector resource: Apraham Kebera Adzenyah, Dumisani Maraire and Judith Cy : es aw Be Neale Man Fes 1 Fee Ls pore 4.NEW YORK UNIVERSITY KODALY SUMMER CERTIFICATION TRADITIONAL SONG COLLECTION tite: ofilo Venu 1s Vendal ; enda bi i Ji en foe Nore hoy sPunen tf Sieh Afi & Ss i f L Pe= B= lo 2, Ha-nga-1a £ SS 3. Ha- nga - 1, 4 Nds tee ma z } } a= : = 5. Te- —mi- 40, ria ni z = SS —— 1. Toho ga- fa $. Mur ta- nda 4, Ma- adu- le 18, Gu-ni -wee “Counting fingers a> done with Tete Wand Fingers first Right Mand 2 points te lef hand 5% 3 2 1. Then ight Nand fingesa= Sead a = 134, 5, A clap can end the song Rhythm tert bet eyes eae with ) tone set of source: form: scale name: cadences: range: syllables: rhythm: number of measures: ckiny. Venda pedagogical use: source: ae Slacking A Sty collector: resource: Analy, Chicago: Unity cre ness, 4b ids, Poe 18, ws a, sat cnaNEW YORK UNIVERSITY « TRADITIONAL SONG COLLECTION KOOALY SUMMER INSTITUTE tite: Sense Krome, ethnic and geographic origin: An. Alton Pla a rowd or Mongaso meng r fopoot 1 | Feito t 1 acbye-hyer nkorh> mbow ; ty pop } Z Poy wep awrchey~chay bahbeh mh sila ino cide, Singing 4 The araumag fallsuikg oh T = et of 1 UE edaeA ee a Ra uns haw rnon Fes. a = uy f i } Ee fo - Hi fool wd Co clap ay — oe ere ——sa a t 4 a i ieee | =——rt Scetim at Se SSeS pSSRe § = tone set of source: form: [7 TT 1 ae | catonco: |} Ft ~ oem tytn: el im j pedagogical use: source: : ace collector: resource:z NEW YORK UNIVERSITY KODALY SUMMER CERTIFICATION PROGRAM FOLK SONG COLLECTION ‘ie: Tue Tue (Come Buy M Rice Cakes) citric ndesosrenhicoion children’s singing gamé, Akan people, Ghana b— yo ce = ==! z = ts 7 E == £ Tu-e tu-€ a-ri-ma qu-e tue Tu-e tu-e ba-rirma tu-e tue a-mM2 goo oi -e tu- Aq be-fra 62 87M da-wa dawa tu-e ture -ma . ey : da-wa dowd ty-e tu- e ,hsi bari que tue = p° A-bo-fra ba aes Tose, sidestep ~close, leading wih right foot y Teighbors on ne Mactobeat with right palm down and left rs up. This game canbe wed as Fiat noth ihe —ipronsetion — Calling gent ood teFelL stick game: Twe fee sit facing each ether on the floor holding tvo feng sticks part: nat tat Wa Other Students Tine wp and take tuens stepping op jaming thrmgh the sticks in beat 30 that they don’t fet ca fone set of source forme scale name cadences range: syllables: ) anythin: Number of measures: pecagoaia! se source colecter resource: Pam Hetrick leatneg # = judith Cok Tucker, 30 ey Chaps, Cari OF“TUE TUE” BIRTHDAY SINGING GAME FROM GHANA The following activity goes with the Ghanaian song *:Tue Tue”. It is a celebration of a child's name day. In Ghana each child has a special name derived from the day of the week (s)he was born. It is like a middle name. While playing the clapping game children take turns singing their birthday name, the name being related to the day of the week on which they were born. If a girl child is born on Wednesday the song would be sung as “Abotraba Akia dawah dawah” which means “Wednesday's child”, “abofraba” meaning “child”. “Hey bareema” means “hip hip hooray’. | have not been able to find the translation of the whole song. With each singing of the song a different child's name is sung. So it could be “Abofraba Kofi dawah dawah” or “Akia...’ or ‘Abofrabahkwabena...”. You wilt have to practice fitting all the words to the melody. Children could help with this. Notice the accents placed over certain syllables to indicate where the stress should go when pronouncing the name. DAY GIRL BOY. Sunday Akosia Kwast, Monday Adwoa Kwadjo Tuesday Abena Kwabena Wednesday Akia Kwaku Thursday Yawoo Yah, Friday Alia Koff, Saturday Ama Kwame (ee) vecNEW YORK UNIVERSITY KODALY SUMMER CERTIFICATION PROGRAM TRADITIONAL SONG COLLECTION 7 tue. Wa wd wa Emimimo (Gre, 0 aly sprit, Come) aaa ethnic and geographic origin: Nigeri e A z Wa wa wa Come, aI-_ mighy- - = — 1 af me-ta. + amigmeey. spiteit, come. N n 9 ca ee Ee - Wa -o wa- fo + Ey z fe 4 E -rhi-mi-mo. _5_spiteit, come fone set of source: form: Soa nen cadences: fsdisie syllables: rhythin: number of measures: pedagogical use: source: Same) Selanke, Seanged by Ls eh collector: rl uit ry i, im " ‘ags burg, Porters iggs PR:THE UNIVERSITY OF CALGARY TRADIVIONAL SONG COLLECTION : Wai Bamba erae tea asaeie ae Tae song of the Shona people of Zimbabwe 7 , 8 4 ey weds rely ey melody iM ies my pe] re oe resource:f\praom Kobena Adzenyal Dumisani Mataite, and Judi Let Your Voice Be Heard! Ang Zimrabwe., Danbury, | 19g rev ed, payes BFNEW YORK UNIVERSITY KODALY SUMMER CERTIFICATION PROGRAM TRADITIONAL SONG COLLECTION ; Wa wa wa Emimmo (ome, 0 fey apt, Cm) igerio etic and geogrepnc origin: Niger Sian ioe eee title: 4 4 i : F zz 4 —_— 4 = 7 {1 Wa wa wa pl oo mo, Gone, 0 _e- iy Lea om, EEL 4 == Eom-ol-ye, Wo- ly spiteit, come 1 z ive cal Wa wa wa As lag-ba - va, ee i ong f- 7 = eS | A= lag- ba-ra-me-ta. l= mightey apitevt, coms E-mi-mi-me. g_opiteie, come fone set of source: fom: scale name: cadences: renge syllabi: rhythm: number of measures: pedagogical use source: ative), selanke Tangud by Lots Loh resource iy 4 vaca) Resource f9° WORD. Minne ‘Aags burg Fertvess tags “PP collector: