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User:Jacqke/Traditional African lutes

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African lutes
String instrument
Classification plucked string instrument
Hornbostel–Sachs classification321.31

321.33

Lutes in which the string bearer is a plain handle (handle lutes)

  • 321.31 in which the handle extends through both sidewalls of the resonator diametrically (spike lutes)
  • 321.33 in which the handle extends into but does not pass completely through the resonator (tanged lutes)
    • 321.331 tanged bowl lutes
    • 321.332 tanged box lutes
Related instruments

See also: Sub-Saharan African music traditions

Early common cultural bonds

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Kingdoms and group associations in West Africa which interconnected cultures included the Mali Empire c. 1235–1670, Sosso Empire c. 1054–c. 1235, Gao Empire c. 7th century–1325, Ghana Empire c. 100–300–c. mid-1200s and Pre-imperial Mali. It was in the Mali Empire that Al-'Umari and Ibn Battūta mentioned the use of lutes.[1].

Later kingdoms inluded the Songhai Empire c. 1430s–1591, Jolof Empire 13-14th century–1549, Kaabu Empire 1537–1867, and Empire of Great Fulo 1512–1776.

Outside cultural influence includes contact with India, Indonesia/Malay culture, Muslim culture and European culture.

Characteristics

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Lutes in Africa may be distinguished geographically, to include West Africa, the Maghreb, and the Rice Coast. They have been grouped by cultures and peoples that play them. They have been grouped by status such as instruments of Griots (a caste of professional musician) and folk instruments. They may be viewed in terms of their structural characteristics and the methods musicians use in playing the instruments.

321.31 spike lutes

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These are lutes in which a handle passes through both side walls of a resonator, or through indentations at the top of the bowl. Handles tend to be rods or sticks.[1, p7] Among African lutes these are found along the rice coast.

321.32 necked lutes

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Lutes in which the carved neck is attached to the resonator or carved from the resonator.[1, p7] Lutes in this category tend to be in countries bordering on the Mediterranean and with cultural connections to the middle east. Typical examples include the oud. This category also includes Coptic lutes (Egyptian), which have similarities to ancient Egyptian lutes, but also to Greek/Roman pandura and the rubab (Pamiri rubab, Seni rebab). The Coptic lute's neck is hollow, as are the rubabs.

321.33 tanged lutes

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Also called a semi-spike lute or internal-spike lute. These are instruments like the spike lutes, except that the handle touches only one side of the resonator body, the end remaining inside or poking through the soundboard. These do not piece the resonator body but rest in an indentation in the resonator; those like the Griot lutes are woven in and out through the skin sound table[1, p7] These are the typical lute of West Africa. Some non-Griot lutes have the handle lying on top of the sound table.

North Africa and Maghrib

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names and variations of names Description Ethnic connections, regions Picture Picture
Guembri (الكمبري)

Gombri

gimbri (Hausa)

hejhouj (Hausa)

Sintir (Arabic: سنتير)

tanged, bass range. 1-1.5 meters long, oval or rectangular body of carved wood with untanned skin soundboard tacked on, sheep-gut strings attached to neck with leather straps

Moroccan lute is tanged, in which the handle ends inside the body of the instrument, the end visible through a hole.

There are also spike lute in Tunisia, in which the handle pokes through the sidewall of the body, for strings to anchor on.

Both use a u-shaped bridge that sits on top of the soundboard.

Gnawa tradition, peoples linked to subsaharran Africa. Played in Maghreb countries (Morocco, Tunisia, Algeria) by Gnawa for concerts and Haḍra (religious ritual).[1] May be present amplified with tbal drum and qarqabs.[1]

Used in Morocco in possession ritual (Derdeba) to invoke spirits.[note 1][2] Tunisian possession ritual called Stambali.[note 2][3]

Tunisia. A shop owner sits with a man, who is playing Gombri. The owner is also a yenna, a musician and religious and cultural storyteller. Full spike lute.[4]
Tunisia. Full spike lute. Body possibly made from metal can.
Morocco. Sintir player. Tannged lute.
Morocco. Guembri player. Tanged lute.
Algeria. Tanged lute, same as Moroccan.
Lotar (لوتار)

Lothar

Lutar

Loutar

hejhouj

sentir

A Guembri or Sintir with pear or oval shape and 2-4 tuning pegs, about 50-130 centimetes long.[5] Bowl back carved from block of wood with separate fitted neck, goatskin soundboard, 3 or 4 strings.[5] Largest version may have 8 strings.[5] Played with "long curved pick".[6] "Tuned in E-A-D-G over two octaves".[5] Sound is somewhat "muffled".[5] Sufi tradtions. Berber peoples. A Lotar is a version of the Guembri. Largest versions, 4-8 strings are played by Amazigh bards of Atlas mountains.[5][7] A 4-string version is played by the Jebala people of Jajouka, Morocco. Amazigh, Amazighen, Berber peoples. Sufi religious traditions, "trance-inducing music".[8] Mohamed Rouicha popularized it.
Picture of a 4-string gimbri. This style may also be called lutar.
Louthar
Gnawa tradition Guinbri from Marrakesh.
Morocco, before 1981. Lothar
Mohamed Rouicha playing a loutar.
Morocco. Lotar player.
suissen

suisdi

swisdi

Pear shaped guembris, smaller than 50 cm length.[5] May have tortoiseshell resonator.[9][10] Morocco. Sold as tourist souvenirs.[5] Used in Malhun orchestras to play Moroccan classical music.[5][10]
Small lothar with tortoiseshell body (called akroun or fakrun). Possible Suissen.
Small-sized gumbri's in Tunisia. Tourist souvenirs.
Small guinbri. Possibly a Suissen.

West Africa

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Jaliya, the Griot tradition

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A Susu griot holds holds a lute with a figure "8" shape body, about 1910, standing behind two sitting women. Mande speakers (of which Susu people are among) call their lutes nkoni or ngoni.[11]

Western writers have made a habit of calling professional musicians from Sub-Saharan Africa, "griots," and have generalized all similar lutes as "ngoni" or "xalam" or "griot lutes."[12] The assumption is that since outsiders cannot see or hear the difference, then it isn't worth the effort to sort them. But late 20th century and early 21st century writers began to cast doubt on the assumption and to come up with ways to classify the instruments. One of the further classifications was to separate griot lutes from folk lutes.[12]

Griot lutes

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Griot traditions center on Mali, Senegal, Gambia and Guinea, among people in the Mande language family, Wolof, western Fulbe Songhai, Sereen, Lebu and Tukulóor peoples. Outside of these countries, griot tradition may follow relatives of these peoples living in Burkina Faso, Guinea-Bissau and Niger. As a term, griot is overused by western writers. The job of a griot is as a professional musician, praise singer and word artisan. The term applies to a rank in triparte Islamic caste systems, in which only members of that caste (nearly always the men) may play the griot lutes. Caste names vary by language and people and include: iherden (Kel Tamashek people), blacksmith caste; iggawin (Moors); jeserey wayborey (Songhai people), maabu'be (weavers and singers highest cast) and wammbaa'be (also play nyaanyoora), FulBe, jali, jeli, gewel.[13][14]

Griot refers to people in Muslim cultures with a tripartite caste system. Not every Muslim culture uses griots; an example of one that doesn't is the Hausa people. Calling musicians griots who are from non-griot cultures offends sensitivities linked to identity. When a culture has the "strict tripartite caste system" there are established standards for what constitutes a griot, what rules affect music and wat constitutes a griot lute and a non-griot lute. Only griots play griot lutes; nearly all of these are wood-bodied instruments with a stick neck installed as a semi-spike and a fan-shaped bridge. Non-griot lutes may be wood (such as the Hausa molo), but are more often made of gourd or calabash with a cylindrical bridge sitting on top of the soundboard; these may be semi-spike lutes or full-spike lutes.[13][14]





-fan shaped bridge feature of West African griot instruments[charry, p5]


" It is the special kind of bridge, shaped like a fan, that in combination with the features noted above, marks the lute played exclusively by griots as uniquely West African"[Charry, p9]

"The neck rests on the top of the body. It is "attached to the soundboard."Cite error: The <ref> tag has too many names (see the help page).

Names and variations Description Ethnic connections, regions Pictures Pictures
Gambare Soninke people

Serahuli

Hoddu Fulbe people. Mali, Guinea, Guinea-Bissau or the Senegambia

Tukulóor

Mali. Hoddu of the Fulani.
Three Fulani griots with hoddu in the service of King Sambala of Médine, Mali, a village in the Kayes region, 1890.
Hoddu in the Metropolitan Museum of Art. Fan bridge is missing; slot for bridge visible at end of stick.
Line drawing of MET's Hoddu. Fan bridge is visible.
Kambre[17]

Kambreh[17]

Boat shaped wooden resonator, hide soundboard secured by lacing on bottom of instrument, 2 horsehair strings, dimensions about 52 cm long by 7 cm wide.[18] Also 3 strings.[17] Sierra Leone Fulbe people[17] Example photo at museum.[18]
Kerona Fulbe people of Futa Jallon
Koni

Kontingo

Nkoni

Ngoni

Variants of Ngoni include Ngoni (small, high pitch), Ngoni Ba (smaller, lower pitch), Bass Ngoni (even larger, lowest pitch) Mande, Mandinka, Bambara
Cheick Hamala Diabaté
Bassekou Kouyate (Griot) playing Ngoni
Guinea. Mandinka people. Probable Kontigo
Ngoni Ba. Fan bridge is covered with electrical tape, sound amplifier installed.
Bambara instrument.
Molo Djerma people

Songhay people

Teharden

terhardent

three strings Tamashek

Kel Tamasheq (translation: veiled people)

Tuareg people

Tashigalt or takamba music. Paired with calabash (large calabash used for drum).[19]

The Tuareg griot Amano and members of his family. Griots with tehardent (tamachek) or three-stringed ngoni (stringed instrument) - Tin Aicha, Timbuktu, Mali.
Three Tuareg griots, one with a white cheche (turban), playing a terhardent with two other griots with black cheches during the New Year's Eve. Ouagadougou, Burkina Faso
A griot with 4-string tehardent and second young musician outside on mats between their audience. Refugee camp, Mberra, Mauritania
Tidinit Four strings. Mauritania

Moors, both (Beidane and Haratin). Muslims established emirates in south of country, in about the 18th century AD.[20] Griots of indigenous peoples employed for praise singing of Moors and to disparage their enemies.[20] Tidinit borrowed along with griot customs.[20] Today tidinit used in Azâwân music.[20]

Griot music is called azawan, singing accompanied by tidinit, ardin and tbal kettledrum.[21] A form of music in which male and female griots may play together.

Iggawin is the name of the lowest caste, in which musicians are part. These are the musicians associated with the tidinit.[Pestcoe, Emergence of the Griot Lutes]

Example photo at Philharmonie de Paris.[20]
Xalam

Khalam

Halam

Wolof people
Senegal, Wolof Xalamkat holding his xalam.
Wolof Griot With Xalam.
Dambararou Benin

Bariba people Traditional music includes "Griot music accompanied on the delicate dambararou lute". Other instruments include goge, gon and karou drums.[22]

Benin, ca. 1900-1930. Unnamed lute with calabash resonator, skin soundtable, wood handle and horsehair strings. Batoonu [sic] population. Baatonu is the Bariba language used by the Bariba people.

Non-griot lute

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Rice Coast The Rice Coast of Africa is the region on the Atlantic Coast, from Senegal to Liberia.[23] Many of its residents were enslaved in the United States because of their knowledge in growing rice.[23] The Rice Coast has lutes that may be closely related to the American banjo.[24]

Spike Lutes See also Music of Guinea-Bissau, Balanta people

Lower part of the ekonting, showing the u-shaped bridge with feet sitting on the skin soundboard. The instrument's handle passes through the soundbox fully on both sides using the indentations at the top of the bowl.

The spike lutes of the Rice Coast have resonators made from gourds, with handles that poke through the side walls on both sides.[24] The handles or round necks are fretless, made from a papyrus stalk.[24] Typically they have 3 strings (a short drone string as on a banjo, and two melody strings).[24] The strings are attached at the neck with tuning rings and pass over the skin soundtable (tacked across the cut opening in the top of the gourd).[24] The strings pass over an upright bridge that sits directly on top of the soundtable's skin surface.[24]

Gourd resonator bodies are usually round, but a variant called entofer uses an oval or tear-shaped gourd, also described as "bulbous".[24]


-cylindrical bridge

-either full-spike lute or semi-spike lute

-folk lutes of western Sudan region

-folk and non-Griot artesian lutes of central Sudan region

-non-griot, artesian and folk of Western Sudan

-non-griot, artesian and folk of Central Sudan

Sudan region, divided into:

Western Sudan subregion: Mauritania, Mali, Senegal, The Gambia, Guinea-Bissau, Guinea
Central Sudan subregion: Burkina Faso, Ivory Coast, Sierra Leone, Ghana, Togo, Benin, Nigeria, Niger, Chad, Cameroon








Names and variations Description Ethnic connections, regions Pictures Pictures
Garaya[25] Semi-spike lute.[25]

2 strings.[25][26] Oval wooden soundbox, total length about 50 cm.[26] Duiker hide or goatskin covering.[26] Top has long metal attachment with jingles.[26] Plucked with "diamond-shaped pick of stiff cowhide."[26]

Central Sudan
Nigeria[25]
Hausa people[25]
 Example illustration on postage stamp.[27]
Babbar garaya (big garaya)[28]

Komo[29]

Semi-spike lute.[28]

2 strings.[28] Oval shaped.[30] Lute constructed of gourd for the soundbox, skin soundboard with cylindrical bridge, about 75 cm long. Strip of metal with metal-ring jingles attached to top of handle adds another 22 cm to length.[29] Cow or rhinoceros hide pick.[29]

Central Sudan
Nigeria.[28][29]
Hausa people.[28][29] Played for entertainment and religion, the "bori spirit possession ceremonies. Formerly used in ceremonies to praise hunters.[29]
Gurmi

Kumbo

Full-spike lute.[31]

Body is a half calabash.[32] The handle or neck passes through both sides of the calabash resonator.[31] Sound hole in the top of the instrument. Cylindrical bridge rests on skin soundboard. Strung with 2 strings that are tied on leather straps on the neck, pass over the bridge and resonator and are tied to the end of the handle below the resonator.

Musician plucks the strings and strikes a metal slug on the body with the copper ring on his right hand.[32]

Central Sudan
Nigeria
Hausa, Northern Nigeria.[33]

Versions in 1930 had metal jingles attached [Gurmy, Groves vol2]. These illustrated in photo from 1950s at Smithsonian.[34][35]

Diffa, Niger. Man playing a gurmi.
Nigeria. Hausa musician playing Gurmi.
Kaburu[36]

Kabulu

Semi-spike lute[36]

3 strings.[37] Large lute (up to 100 cm long) with metal jingles on the top of the handle adding extra length.[37] Cylinder bridge wrapped in or constructed of leather cut from soundtable hole and rolled, sits under strings to lift them from soundtable.

Central Sudan
Nigeria.[37]
Gbagyi (also called Gwari)[37]

Used in kabulu or kaburu music. Originally used for ritual music.[37] Played in multi-lute ensemble, up to 8 lutes together.[37] This was originally an instrument of the Kuta, Nigeria area Gbagyi, and has spread.[37]

Photo of Kaburu lutes in 1969, instruments with an oval body. That year a Kabulu/Abwagyi Musical cultural Group from Kuta, Nigeria performed at the All-Africa-Cultural Festival held in Algiers.[38][39]

Photo of Dr. Adamu WALO, also called Bwalo Shattan Gwari (stage name). Dr. Walo is shown holding an oval kaburu.[40]

Nigeria, Niger State, Minna. Gbagyi instrument called the kabulu.[41][42] This photo is used online to represent the Hausa people.
Kologo Semi-spike lute

Handle threaded through holes in skin soundboard, in manner similar to Egyptian lutes. Also holes in soundboard as Egyptian and some other modern lutes (such as lothar). U-shaped bridge, like ekonting.

Central Sudan
Ghana
Burkina Faso
Ghana. King Ayisoba playing a kologo.
Ghana. Atongo Zimba playing a kologo.
Kontigi Semi-spike lute

one string lute. Cylinder bridge, rolled up in skin cut from soundhole. Modern lutes use a oval shaped sardine can for the soundbox.

Central Sudan
Nigeria
Hausa people
Picture of a kontigi, a one string African lute of the Hausa people, made from sardine can. Metal strip with jingles attached at top of handle.
Molo Semi-spike lute.

Usually 3 strings.[43] While same shape as xalam, has a cylindrical bridge instead of a fan-shaped bridge. Bridge wrapped in or constructed of leather cut from soundtable hole and rolled, sits under strings to lift them from soundtable.

Central Sudan
Nigeria
Niger
Hausa people
Nigeria, Hausa people. Differs from Hoddu and Xalam; has cylindrical bridge. Xalam has fan bridge.
Nigeria, Hausa people. Back of lute.
kwamsa[44][45]

komsa[45]

khamsa[45]

kwafsa[46]

kwabsa[46]

A semi-spike lute[45]

2-strings, a gourd body, and cylindrical bridge. [45] Large.[46]

Nigeria, Niger.[45]
Hausa people.[45]
Unidentified instrument, possibly kwamsa. This instrument has a sheet metal plate with jingles attached to the handle's top.
unnamed lute Semi-spike lute

From a photograph,[47] the Ncam people appear to use a semi-spike lute, similar to the kologo of Ghana and Burkina Faso. It has a calabash resonator and wooden handle and jingles on the end of the handle. The observer said it has 2 strings.[47] There are no pegs for the strings in the photo, so they are held in place with leather straps on the instrument's neck.[47]

Central Sudan
Togo
Ncam people.

The lute was observed to play the music or genre Kitamkpanbeeu – A piece using the traditional two-stringed guitar.[47]

Photo of Ncam man playing a lute in Bassar, Togo.[47]
Akonting[24] (English transliteration)

ekonting[24] (French transliteration}

folk lute of the Jola people, found in Senegal, Gambia, and Guinea-Bissau in West Africa
A member of the Diolas in Boucotte in Casamance (Senegal) playing the ekonting.
Akonting player in Bagaya
bunchundo[24] folk lute of the Manjak
kisinta[24]

kusunde[24]

folk lute of the Balanta[48]
busunde[24][48] folk lute of the Papel
ngopata[24][48] folk lute of the Bijago, Bijago Islands of Guinea Bissau.[48]

Ancient Egypt

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Lutes after addition of Nubia to Egypt in New Kingdom...Some depictions of lutes and harps in Egypt included the head of a goose, duck, falcon goddess or king on the head of the instrument.[7]

Similarly, trough zither from Africa sometimes include the sculpture of a person. The instrument has a voice, speaks and the sculpture implies it is a person.

  • Egyptian 18th Dynasty circa 1550 BC–1292 BC. - Two Musicians with lute and harp. The lute has 3 strings, indicated by the tassels made by tuning straps on the lute's end.
    Egyptian 18th Dynasty circa 1550 BC–1292 BC. - Two Musicians with lute and harp. The lute has 3 strings, indicated by the tassels made by tuning straps on the lute's end.
  • 18th dynasty musicians playing zummâra double clarinet, lute and arched harp, circa c. 1422-1411 BCE
    18th dynasty musicians playing zummâra double clarinet, lute and arched harp, circa c. 1422-1411 BCE
  • Lute player, tomb of Nakhtamun, TT 341, Sheikh Abd el-Qurna
    Lute player, tomb of Nakhtamun, TT 341, Sheikh Abd el-Qurna
  • :Egyptian lute, male musician, Rekhmire tt100
    :Egyptian lute, male musician, Rekhmire tt100
  • Painting of a lute player from an ostracon, Deir el-Medina. New Kingdom, 19th Dynasty, ca. 1292-1189 BC. Now in the Egyptian Museum, Cairo. JE 63805
    Painting of a lute player from an ostracon, Deir el-Medina. New Kingdom, 19th Dynasty, ca. 1292-1189 BC. Now in the Egyptian Museum, Cairo. JE 63805
  • Lute player, head of lute has bird head
    Lute player, head of lute has bird head
  • lute has bird head. Nubian
    lute has bird head. Nubian

Coptic lutes

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Scholarship

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Lutes have been played parts of Africa for millennia. Historical examples include Ancient Egypt (c. 1850 BC) and the Mali Empire (c. 14th century AD).[1] In spite of the possible history of the instrument there, musical historians have yet to create an extensive history of the lute in Africa.[1] Instead, historians have relied on early musicologists generalizations; Henry Farmer, Curt Sachs and Bernhard Ankermann generalized that African lutes were "are all essentially the same instrument".[1, page 1 and footnote 2] In this view, all lutes could be labeled gunbrī or gunibrī in spite of differences in body style, size and number of strings, in spite of different cultural uses (folk use versus professional Griots), and in spite of different names applied in different languages.[1]

In 1996, musical scholar Eric Charry called attention to a trend toward repudiation, questioning and refining of that assumption.[1] Charry focused on lutes of West Africa, but he noted that study needs to take into account cultures, tribes, regions, design features and history.[1] Cameroon musicologist Francis Bebey included the need to consider an instrument's cultural purpose (to speak or accompany speech rather than singing), language (different pitches in spoken language change meanings of words; musical instruments speak because they can mimic those pitches, songs in African languages are speech completely driven by pitches of words in language).[2] Bebey also brought up a spiritual or religious significance of African instruments: they speak, therefore in some cultures they may be treated with respect as beings.[2]

In 1996 Charry published a list of lutes, divided into similar physical attritutes, by name and culture or tribe.[1] That list was expanded further in 2018 by Shlomo Pestcoe and Greg C. Adams, who were researching the origins of the American banjo.[3]

Another banjo scholar's work that touches on specific African instruments and uncovering their history in the Mediterranean and Americas is Kristina R. Gaddy; Gaddy's research covers blending of African traditions (under European and American slave systems), the instruments' role in African religion as a conduit for spirits to speak, and the conflict between European Christianity and African religions over spiritual-device lutes in the hands of slaves.[4][5]

Chuck Levy interviewed musicians in Africa, revealing how music has changed between generations, how materials in instruments have changed, ritual songs, songs for entertainment, affects of language and dialects on instrument names, and playing techniques.[Banjo Roots, ch5] Nick Bamber explored W African tuning systems in Senegal.[Banjo Roots, ch4]

Bridges

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  • Fan shaped [1, p6]
  • Cylindrical [1][banjo roots p 223]
  • bipedal [banjo roots p 221]
[edit]
  • Ramkie
    Ramkie
  • ribab
    ribab

Notes

[edit]
  1. ^ [From German Wikipedia:] Derdeba , pl . Dradeb, also Lila, Laila (Arabic for "night"), is a nightly religious ceremony of the Gnawa, a Sufi brotherhood in Morocco with origins in black African slaves. At the climax of the event, which is part of a possession cult, the spirits (jinn) that the patients believe are attacking them are supposed to be summoned and appeased through dances and the music of the plucked lute gimbri.
  2. ^ [From German Wikipedia:] The Stambali, also Stambeli, is the name of a religious ceremony in Tunisia that is part of a possession cult, and the associated style of music. The dancers, mostly female, reach a ritualized trance state, which is mainly triggered by the playing of a plucked lute (gimbri) and several hand clappers (qaraqib). This evokes and appeases the possessive spirits.

References

[edit]
  1. ^ a b Langlois, Tony (1998). "The Gnawa of Oujda: Music at the Margins in Morocco". The World of Music. 40 (1). VWB - Verlag für Wissenschaft und Bildung. the word might mean an informal musical get-together...I have also found it used to describe a kind of dance in which participants become entranced...and for the trance itself.
  2. ^ Sum, Maisie (April 2012). Music of the Gnawa of Morocco: Evolving Spaces and Times (Thesis). Vancouver, British Columbia: The Faculty of Graduate Studies (Music) The University of British Columbia (Vancouver). pp. 17, 66–67. The entire derdeba [lila] rests on the gumbri that evokes the genies and directs them on a fantastic cavalcade marked by the qarqab. The genies come at the call of the instrument and the bared feet of the moqaddem when he dances. [A moqaddem refers to a ritual officiant who is often a seer-therapist and/or medium. A m'allem is a master musican, who is also male.] A good maalem and a good moqaddem are "hot" people that "induce ascent". Their quality is measured by the number of adepts that fall in trance and are possessed as soon as they begin.
  3. ^ "Watch: Tunisia's Stambeli Ritual (COSMOS Scene Report) Friday Mar 29th 2024 COSMOS". Le Guess Who. The ritual dance practice of Stambeli is a centuries old method to induce trance-like states through sound...a religious ritual mostly connected to Tunisia, but its roots go back to Mali and Niger, from where enslaved people were brought to Tunisia...The musical part of Stambeli is played with the "gumbri" – a traditional Tunisian string instrument – over the rhythm of the "chkackek".
  4. ^ Pillault, Théophile (15 May 2023). "Stambeli 2.0: electrifying Tunisian ritual music". PAM (Pan African Music. Stambeli, one of the last Tunisian rituals of possession....Also called yenna, this master of ceremony is at the center of the orchestra. His instrument – the gombri – governs the ritual
  5. ^ a b c d e f g h i D'Hérouville, Pierre. "Le lotar". akhaba.com. Archived from the original on 3 October 2013. Nowadays, we therefore call these pear-shaped lutes with a skin table, with a length varying between 50 and 130 centimeters, lotar. Below this size, we will rather speak of suisdi (or suissen), a small two-stringed lute, persisting for example in malhoun orchestras.
  6. ^ "Instruments". The Master Musicians of Jajouka led by Bachir Attar. [Note: This variant played by Sufi musicians in Jajouka.]
  7. ^ "Africa". Atlas of Plucked Instruments. A larger version, which is called loutar (or lotar - see under), is used in the Middle Atlas region by the Amazigh imdyazn (bards).
  8. ^ "Master Musicians of Joujouka". Joujouka. drone-based music...energetic, frenetic sound....sufi trance music...a form of trance music which is used for healing
  9. ^ "Africa". Atlas of Plucked Instruments. mall gunbri, with 3 nylon strings...body could be made like the gunbri, from hollowed out wood...[or] tortoise shell...fakroun or fakrun (= "tortoise")...The better quality ones - resembling more the proper gunbri - are sometimes called suissen
  10. ^ a b "Morocco 'Gunibri'". WORLD MUSIC, LLC. The Hartenberger World Music Collection of Historical Instruments. The gunibri (gunbri) is a small 3-string long-neck spike lute used in Moroccan music...this one has a tortoise shell resonator. It is called fakroun or fakrun ("tortoise")...This gunibri is sometimes called suissen
  11. ^ Pestcoe, Shlomo. "Griot Lutes". ngoni (Mande) (also nkoni, koni, konting, kontingo, etc.)
  12. ^ a b Charry, Eric (March 1996). "Plucked Lutes in West Africa: an Historical Overview". The Galpin Society Journal. 49. The Galpin Society.
  13. ^ a b Pestcoe, Shlomo (1 February 2009). "Griot Lutes". Shlolomusic.com.
  14. ^ a b Pestcoe, Shlomo (1 February 2009). "The Emergence of the Griot Lutes". Shlolomusic.com.
  15. ^ "208 - AFRIQUE - SOUDAN - HAUT-NIGER - Chef Malinké". [text on postcard:] 1089 Afrique occidentale - Soudan —- HAUTE NIGER Chef Malinké
  16. ^ Charry, Eric (March 1996). "Plucked Lutes in West Africa: an Historical Overview". The Galpin Society Journal. 49. The Galpin Society. Griot lutes include the Mande koni complex (i.e. Maninka koni, Xasonke koni, Bambara ngoni, and Mandinka kontingo), Wolof xalam, Soninke gambare, Fulbe hoddu, and Moorish tidini. They are all wooden-trough lutes with fan-shaped bridges, and are all essentially the same instrument with minor variations, primarily based on size.
  17. ^ a b c d Pestcoe, Shlomo; Adams, Greg C. "3 List of West African Plucked Spike Lutes". In Robert B. Winnans (ed.). Banjo Roots and Branches. p. 48.
  18. ^ a b "Kambre; spike fiddle". Horniman Museum and Gardens.
  19. ^ "Al Bilali Soudan: Tiny Desk (Home) Concert". NPR Music. the band is a torch-bearer of the quintessentially Tamasheq music style called tashigalt or takamba, which is shaped by a continuous exchange between the three-stringed tehardent (a kind of lute, also known as ngoni or tidinit in other areas) accompanied by percussive rhythm of the calabash.
  20. ^ a b c d e "Azâwân music from Mauritania". Philharmonie de Paris.
  21. ^ World Music Central https://worldmusiccentral.org/world-music-resources/musician-biographies/mauritanian-music/. The music of the griots or troubadours of Mauritania is called Azawan, and is a truly scholarly form of music. It follows strict theory and is played by professional musicians who have undergone a long and specialist training. The songs are accompanied by three instruments: the ardin harp, a women's instrument made of a half-calabash and has eleven or fourteen strings; the tidnit, a four-stringed lute played exclusively by men; and the tbal kettledrum, a hemispherical drum made from a hollowed-out piece of wood that can reach a size of 1m in diameter. {{cite web}}: Missing or empty |title= (help); Text "Mauritanian Music" ignored (help); line feed character in |quote= at position 227 (help)
  22. ^ "Bariba Music". Retrieved 14 September 2024. [note: advertisement for recordings made by Radio France.]
  23. ^ a b Opala, Joseph A. "The Gullah: Rice, Slavery, and the Sierra Leone-American Connection". Yale MacMillan Center, Gilder Leherman Center for the Study of Slavery, Resistance and Abolition. Retrieved 30 August 2024. The white plantation owners purchased slaves from various parts of Africa, but they greatly preferred slaves from what they called the "Rice Coast" or "Windward Coast"—the traditional rice-growing region of West Africa, stretching from Senegal down to Sierra Leone and Liberia.
  24. ^ a b c d e f g h i j k l m n Pestcoe, Shlomo (1 February 2009). "The Akonting & Other Folk Lutes of West Africa's "Rice Coast"". Shlolomusic.com.
  25. ^ a b c d e Pestcoe, Shlomo; Adams, Greg C. "3 List of West African Plucked Spike Lutes -". In Robert B. Winnans (ed.). Banjo Roots and Branches. pp. 47–49. Semi-Spike Lutes...garaya [plural garayu] (Hausa: Nigeria) (two strings)
  26. ^ a b c d e Gourlay, K. A. (1984). "Garaya". In Sadie Stanley (ed.). The New Grove Dictionary of Musical Instruments. Vol. 2. London: MacMillan Press. p. 25.
  27. ^ "niger.. 35f république du niger.instrument de musique : garaya (haoussa) oblitéré" [niger.. 35f republic of niger. musical instrument: garaya (hausa) cancelled.] (in French). [note: This is a stamp from Niger, showing the Garaya (Haoussa)]
  28. ^ a b c d e Pestcoe, Shlomo; Adams, Greg C. "3 List of West African Plucked Spike Lutes -". In Robert B. Winnans (ed.). Banjo Roots and Branches. pp. 47–49. Semi-Spike Lutes...komo [babbar garaya (literally "big garaya")] (Hausa: Nigeria) (two strings; gourd body)
  29. ^ a b c d e f Gourlay, K. A. (1984). "Komo". In Sadie Stanley (ed.). The New Grove Dictionary of Musical Instruments. Vol. 2. London: MacMillan Press. p. 454.
  30. ^ "Komo". A Hausa-English dictionary by George Percy Bargery. 1934. komo. I. [ko/mo/] {n.m.}...3. The musical instrument called garaya, because oval in shape.
  31. ^ a b Pestcoe, Shlomo; Adams, Greg C. "3 List of West African Plucked Spike Lutes". In Robert B. Winnans (ed.). Banjo Roots and Branches. pp. 46–47. Full-Spike Lutes...gurmi (Hausa: Nigeria) (two or three strings; gourd body)
  32. ^ a b Baker, Melvin. "The Harpist".
  33. ^ Visually Ethnographic Networks. "Salamatu Mai Gurmi [Female Hausa Gurmi Player]". YouTube. Retrieved 1 September 2024.
  34. ^ "Hunters' festival during 10th anniversary of independence celebration, Niamey, Niger".
  35. ^ "Hunters' festival during 10th anniversary of independence celebration, Niamey, Niger".
  36. ^ a b Pestcoe, Shlomo; Adams, Greg C. "3 List of West African Plucked Spike Lutes". In Robert B. Winnans (ed.). Banjo Roots and Branches. p. 48. Semi-Spike Lutes...kaburu (Gwari [Gbari, Gbagyi]: Nigeria) (three strings)
  37. ^ a b c d e f g Sadie Stanley, ed. (1984). "Kaburu". The New Grove Dictionary of Musical Instruments. Vol. 2. London: MacMillan Press. p. 342.
  38. ^ Zubair Mubaraq (25 June 2013). "untitled". Gbagyi Youths for Change. ...Kabulu/Abwagyi Musical cultural Group from Kuta won for Nigeria her only medal at All-Africa-Cultural Festival held in Algiers in 1969?...a commemorative postage stamp of Ten Kobo (10Kobo) denomination was issued bearing their picture? COMPILED BY: Zubair Mubaraq
  39. ^ Pestcoe, Shlomo (1 February 2009). "West African Folk & Artisan Lutes". Shlolomusic.com. Illustration credits: Traditional Gwari musicians playing large gourd-bodied kaburu and a goje fiddle, Nigeria.
  40. ^ "The Forgotten Legend of Gbagyi Traditional Music Nation in Nigeria". Galukwo Magazine. [Note: instrument called a Mulo in the source; The New Grove Encyclopedia of Musical Instruments says molo may refer to any plucked string instrument in Hausa areas of Nigeria.]
  41. ^ Governor of Kaduna @GovKaduna (10 Jan 2019). "Malam Nasir @elrufai is receiving a delegation of the Gbagyi Federation Council, led by the Wakili Gbagyi Nupe, Alh. Awaisu Mohammed Kuta". [Note: photo 4 has 3 men with kabulu lutes]
  42. ^ "The Kabulu drums". Gbagyi/hub-Culture. I bring to you the kabulu drums, which is mostly found among the Gbagyi Kuta people of Niger State.
  43. ^ "Molo". A Hausa-English dictionary by George Percy Bargery. 1934. molo [mo/lo/] {n.m.; pl. mo/la"ye/+}. 1. A kind of guitar, usually three-stringed. (= maulo; (Go.) maulu.)
  44. ^ "Kwamsa". A Hausa-English dictionary by George Percy Bargery. 1934. kwamsa (Go.) = kwafsa I q.v {{cite encyclopedia}}: line feed character in |quote= at position 7 (help)
  45. ^ a b c d e f g Pestcoe, Shlomo; Adams, Greg C. "3 List of West African Plucked Spike Lutes". In Robert B. Winnans (ed.). Banjo Roots and Branches. pp. 47–49. kwamsa [komsa, khamsa] (Hausa:Nigeria; Niger) (two strings; gourd body)
  46. ^ a b c "Kwafsa". A Hausa-English dictionary by George Percy Bargery. 1934. kwafsa. I. [kwafsa"] {n.f.}. A large stringed musical instrument. (= kwabsa.). {{cite encyclopedia}}: line feed character in |quote= at position 8 (help)
  47. ^ a b c d e "22 Production-line song-writing! Filed Under (Ethnomusicology, General) by Rob on 22-06-2007". Adventures in West Africa with Rob & Lois. One instrument I hadn't seen before was the two-stringed traditional guitar, made up of a calabash (gourd) and a long stick. This one also had metal lids from Coke, Sprite and Fanta bottles on the end of the head for added percussion!
  48. ^ a b c d Bamber, Nick (1 February 2009). "Two Gourd Lutes from the Bijago Islands of Guinea Bissau". Shlolomusic.com.

Catherine Baroin , «  The African Odyssey of a Rudimentary Chordophone, the « Lute with an Inner Spike »  » , Afrique: Archéologie & Arts [Online], 7 | 2011, published on 01 November 2015 , consulted on 27 August 2024. URL : http://journals.openedition.org/aaa/625 ; DOI  : https://doi.org/10.4000/aaa.625




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