Music has always been important part of the daily life of African people.

3. Music has always
been important part
in the daily life of
the African, whether
for work, religion,
ceremonies, or even
communication.

4. •Wide influences
on Global music
•Birth of JAZZ
forms.

5. •African music
results from the
cultural and music
diversity of the
more than 50
countries of the
continent

6. •African music
results from the
cultural and music
diversity of the
more than 50
countries of the
continent

8. •African music is
largely functional in
nature
•Used primarily in
ceremonial rites (birth,
death, marriage,
succession, worship,
and spirit invocations.

10. AFROBEAT
is a term used to
describe the fusion of
West African with black
American music.

11. APALA (AKPALA)
a musical genre form
Nigeria in the Yoruba
tribal style to wake up
worshippers after
fasting during the
Muslim holy feast of
Ramadan.

13. AXE
a popular
musical genre
from Salvador,
Bahia, and Brazil.

15. JIT
•is a hard and fast
percussive Zimbabwean
dance music played on
drums with guitar
accompaniment,
influenced by mbira-
based guitar styles.

16. JIVE
a popular form of
South African Music
featuring a lively and
uninhibited variation of
jitterbug, a form of
swing dance.

18. JUJU
•a popular music style from
Nigeria that relies on the
traditional Yoruba rhythms,
where the instruments in Juju
are more Western in origin. A
drum kit, keyboard, pedal steel
guitar, and accordion are used
along with the traditional dun-
dun (talking drum or squeeze
drum).

20. KWASSA KWASSA
•is a dance style begun in
Zaire in the late 1980’s,
popularized by Kanda
Bongo Man. In this dance
style, the hips move back
and forth while the arms
move following the hips.

22. MARABI
•South African three-
chord township music
of the 1930s-1960s
which evolved into
African Jazz.

23. MARABI
• Possessing a keyboard style combining
American jazz, ragtime and blues with
African roots, it is characterized by
simple chords in varying vamping
patterns and repetitive harmony over an
extended period of time to allow the
dancers more time on the dance floor.

27. REGGAE
a Jamaican sound
dominated by bass guitar
and drums. It refers to a
particular music style that
was strongly influenced by
traditional mento and
calypso music, as well as
American jazz, and rhythm
and blues.

28. REGGAE
The most
recognizable
musical elements of
reggae are its
offbeat rhythm and
staccato chords.

30. SALSA
music is Cuban, Puerto
Rican, and Colombian
dance music. It comprises
various musical genres
including the Cuban son
montuno, guaracha,
chachacha, mambo and
bolero.

32. SAMBA
Is the underlying rhythm
that typifies most Brazilian
music. It is lively and
rhythmical dance and
music with three steps to
every bar, making Samba
feel like a timed dance.

34. SOCA
A modern Trinidadian
and Tobago pop
music combining
“soul” and calypso”
music.

36. WERE
This is Muslim music
performed often as a
wake-up call for early
breakfast and prayers
during Ramadan
celebrations.

37. ZOUK
is fast, carnival-like
hythmic music, from the
Creole slang word for
‘party,’ originating in the
Carribean Islands of
Guadaloupe and Martinique
and popularized in the
1980’s.

38. ZOUK
It has a pulsating beat
supplied by the gwo ka and
tambour bele drums, a
tibwa rhythmic pattern
played on the rim of the
snare drum and its hi-hat,
rhythm guitar, a horn
section, and keyboard
synthesizers.

40. 1. MARACATU
Maracatu first surfaced in
the African state of
Pernambuco, combining the
strong rhythms of African
percussion instruments
with Portuguese melodies.

41. 1.MARACATU
The maracatu groups were
called “nacoes” (nations)
who paraded with a
drumming ensemble
numbering up to 100,
accompanied by a singer,
chorus, and a coterie of
dancers.

45. 2. BLUES
The blues is a musical form of the
late 19th century that has had deep
roots in African- American
communities. These communities are
located in the so-called “Deep South” of
the United States. The slaves and their
descendants used to sing as they
worked in the
cotton and vegetable fields.

46. 2. BLUES
The notes of the blues create an
expressive and soulful sound. The
feelings that are evoked are normally
associated with slight degrees of
misfortune, lost love, frustration, or
loneliness. From ecstatic joy to deep
sadness, the blues can communicate
various emotions more effectively than
other musical forms.

48. 3. SOUL
Soul music was a popular music
genre of the 1950’s and 1960’s. It
originated in the United States. It
combines elements of African-American
gospel music, rhythm and blues, and
often jazz. The catchy rhythms are
accompanied by handclaps and
extemporaneous body moves which are
among its important features.

49. Other characteristics include “call
and response” between the soloist
and the chorus, and an especially
tense and powerful vocal sound.

51. Some important innovators whose
recordings in the 1950s contributed to the
emergence of soul music included Clyde
McPhatter, Hank Ballard, and Etta James.
Ray Charles and Little Richard (who
inspired Otis Redding) and James
Brown were equally influential. Brown
was known as the “Godfather of Soul,”
while Sam Cooke and Jackie Wilson are
also often acknowledged as “soul
forefathers.” Examples of soul music
are the following: Ain’t No Mountain
High Enough, Ben, All I Could Do is
Cry, Soul to Soul, and Becha by Golly,
Wow.

52. 4. SPIRITUAL
The term spiritual, normally
associated with a deeply religious
person, refers here to a Negro spiritual,
a song form by African migrants to
America who became enslaved by its
white communities. This musical form
became their outlet to vent their
loneliness and anger, and is a result of
the interaction of music and religion
from Africa with that of America.

53. 4. SPIRITUAL
The texts are mainly religious,
sometimes taken from psalms of
Biblical passages, while the music
utilizes deep bass voices. The vocal
inflections, Negro accents, and
dramatic dynamic changes add to the
musical interest and effectiveness of
the performance. Examples of spiritual
music are the following: We are
Climbing Jacob’s Ladder, Rock My Soul,
When the Saints Go Marching In, and
Peace Be Still.

54. 5. CALL AND
RESPONSE
The call and response method is a
succession of two distinct musical
phrases usually rendered by different
musicians, where the second phrase acts
as a direct commentary on
or response to the first. Much like the
question and answer sequence in human
communication, it also forms a strong
resemblance to the verse-chorus form in
many vocal compositions.

55. 5. CALL AND
RESPONSE
Examples of call and response
songs are the following: Mannish
Boy, one of the signature songs by
Muddy Waters; and School Day -
Ring, Ring Goes the Bell by Chuck
Berry.