Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated within the African-American community in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to African Americans, at a time when "rocking, jazz based music ... [with a] heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American history and experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of societal racism, oppression, relationships, economics, and aspirations.
Polyrhythm is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic layers may be the basis of an entire piece of music (cross-rhythm), or a momentary section. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm. Concurrently in this context means within the same rhythmic cycle. The underlying pulse, whether explicit or implicit can be considered one of the concurrent rhythms. For example, the son clave is poly-rhythmic because its 3 section suggests a different meter from the pulse of the entire pattern.
Highlife is a Ghanaian music genre that originated along the coastal cities of present-day Ghana in the 19th century, during its history as a colony of the British and through its trade routes in coastal areas. It encompasses multiple local fusions of African metre and western jazz melodies. It uses the melodic and main rhythmic structures of traditional African music, but is typically played with Western instruments. Highlife is characterized by jazzy horns and guitars which lead the band and its use of the two-finger plucking guitar style that is typical of African music. Recently it has acquired an uptempo, synth-driven sound.
There are many styles of traditional and modern music of Ghana, due to Ghana's worldwide geographic position on the African continent.
The clave is a rhythmic pattern used as a tool for temporal organization in Brazilian and Cuban music. In Spanish, clave literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, rumba, conga, son, mambo, salsa, songo, timba and Afro-Cuban jazz. The five-stroke clave pattern represents the structural core of many Cuban rhythms. The study of rhythmic methodology, especially in the context of Afro-Cuban music, and how it influences the mood of a piece is known as clave theory.
Mozambique refers to two separate styles of music.
Ewe music is the music of the Ewe people of Togo, Ghana, and Benin, West Africa. Instrumentation is primarily percussive and rhythmically the music features great metrical complexity. Its highest form is in dance music including a drum orchestra, but there are also work, play, and other songs. Ewe music is featured in A. M. Jones's Studies in African Music.
In music, the term period refers to certain types of recurrence in small-scale formal structure. In twentieth-century music scholarship, the term is usually used as defined by the Oxford Companion to Music: "a period consists of two phrases, antecedent and consequent, each of which begins with the same basic motif." Earlier usage varied somewhat, but usually referred to similar notions of symmetry, recurrence, and closure. The concept of a musical period originates in comparisons between music structure and rhetoric at least as early as the 16th century.
Mustapha Tettey Addy is a Ghanaian master drummer and ethnomusicologist. Addy is the founder of The Obonu Drummers, which performs creative drumming composed by Addy that is based upon the royal Obonu drumming of the Ga people and other Ghanaian drumming forms. He has recorded many albums and has performed extensively in Africa and Europe, and briefly in North America in the early 1970s and late 1990s.
Ewe drumming refers to the drumming ensembles of the Ewe people of Ghana, Togo, and Benin. The Ewe are known for their experience in drumming throughout West Africa. The sophisticated cross rhythms and polyrhythms in Ewe drumming are similar to those in Afro-Caribbean music and late jazz. The original purpose of Ewe drumming were sung or performed by warriors. Now the songs and performed to celebrate or for recreational use. For example, Agbadza was originally used as a warrior dance but is now used to celebrate events.
The Bo Diddley beat is a syncopated musical rhythm that is widely used in rock and roll and pop music. The beat is named after rhythm and blues musician Bo Diddley, who introduced and popularized the beat with his self-titled debut single, "Bo Diddley", in 1955. The beat is essentially the Afro-Cuban clave rhythm or based on the clave or a variation thereof.
Kpanlogo, traditionally named Tswreshi or Treshi is a type of barrel drum that is associated with Kpanlogo music, and is usually played with two hands. The drum originates from the Ga people of the Greater Accra Region in Ghana, West Africa.
Rumba is a secular genre of Cuban music involving dance, percussion, and song. It originated in the northern regions of Cuba, mainly in urban Havana and Matanzas, during the late 19th century. It is based on African music and dance traditions, namely Abakuá and yuka, as well as the Spanish-based coros de clave. According to Argeliers León, rumba is one of the major "genre complexes" of Cuban music, and the term rumba complex is now commonly used by musicologists. This complex encompasses the three traditional forms of rumba, as well as their contemporary derivatives and other minor styles.
A bell pattern is a rhythmic pattern of striking a hand-held bell or other instrument of the idiophone family, to make it emit a sound at desired intervals. It is often a key pattern, in most cases it is a metal bell, such as an agogô, gankoqui, or cowbell, or a hollowed piece of wood, or wooden claves. In band music, bell patterns are also played on the metal shell of the timbales, and drum kit cymbals.
In music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term cross rhythm was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980). It refers to a situation where the rhythmic conflict found in polyrhythms is the basis of an entire musical piece.
Sub-Saharan African music is characterised by a "strong rhythmic interest" that exhibits common characteristics in all regions of this vast territory, so that Arthur Morris Jones (1889–1980) has described the many local approaches as constituting one main system. C. K. Ladzekpo also affirms the profound homogeneity of approach. West African rhythmic techniques carried over the Atlantic were fundamental ingredients in various musical styles of the Americas: samba, forró, maracatu and coco in Brazil, Afro-Cuban music and Afro-American musical genres such as blues, jazz, rhythm & blues, funk, soul, reggae, hip hop, and rock and roll were thereby of immense importance in 20th century popular music. The drum is renowned throughout Africa.
Tresillo is a rhythmic pattern used in Latin American music. It is a more basic form of the rhythmic figure known as the habanera.
Yacub Addy was a Ghanaian traditional drummer, composer, choreographer and educator who collaborated with many musicians in various genres, including Wynton Marsalis. He has been referred to as "the leading ambassador of Ghanaian music and culture".
Ghanaian highlife emerged in the 1980s as a mixture of West African rhythms from Europe by Black people from south and North America. There were three forms of Ghanaian highlife:
The musical structure of Salsa (music) is composed of several components and sections.
