Transcript Slide 1
The fourth area of study looks at aspects of world music We will look specifically at Indian, African and Celtic music. Our second set work is Yiri by Koko. We will be studying this work through listening, analysis and composition tasks. Learning Objectives To consolidate learning on features of African instrumental and vocal music. To develop an understanding of the musical themes in Yiri by Koko To develop an understanding of the three main musical elements in Yiri by Koko. To develop an understanding of Background to the set work ‘Yiri’ The musicians in the group Koko are: Madou Kone: vocals, balaphone, flute Sydou Traore: vocals, balaphone Jacouba Kone: djembe Francois Naba: vocals, tam-tam, dundun, maracas Keresse Sanou: talking drum Tidiane Hema: vocals, maracas Burkino Faso This set work comes from Burkina Faso, which is a landlocked nation situated in West Africa. It is surrounded on all sides by other countries: Mali, Niger, Benin, Togo, Ghana and Cote d’Ivoire. Renamed by President Thomas Sankara in 1984, Burkino translates as ‘men of intengrity’ and Faso means ‘father’s house’ and its inhabitants are called Burkinabe. Musical themes The themes in music from the region of Burkino Faso conjur up some of mankind’s greatest battles in life, including the fight for survival and looking after the environment. In addition the music focuses on creation, community celebrations and friendships. Yiri by Koko: Three clear musical strands The balaphone ostinati- in combination, these produce a complex polyphonic texture. 2. The drum ostinati- in this work they play a relentless one-bar pattern (albeit with a little variation at the beginning of the bar of: two semiquavers- quaver-two semiquavers- quaver 3. The vocal line- this is a simple pentatonic call and response structure 1. Close analysis of ‘Yiri’ Timing Analysis 0.00 – 0.18 Introduction -Free tempo -High balaphone improvised solo (softly) -Monophonic texture -Solo is in Gb major (fast high and low rolls on every note) – repetitive and simple. 0.18 – 0.34 -Moderate tempo established by two balaphones -Major tonality -Strong rhythmic basis (built on two-bar phrases) -Heterophonic texture -Semiquaver and quaver rhythms Close analysis of ‘Yiri’ Timing Analysis 0.34 – 1.09 -Large talking drum, small talking drum and djembe play an ostinato. - Balaphones play a melody. - Lower balaphone plays an ostinato (bars 17-20) - Occasional djembe fills in this section - Melody includes syncopated rhythms and lots of repetition of the tonic and dominant notes. - Bar 21 – simple melodic phrases are repeated with slight variation in short two-bar phrases. Close analysis of ‘Yiri’ Timing Analysis 1.09 – 1.25 - Chorus A1 - Voices in unison - Melody is short, simple and repetitive. Semiquaver, quaver, semiquaver rhythm is a feature of the vocal writing. - No harmony. Close analysis of ‘Yiri’ Timing Analysis 1.25 – 1.44 -Short instrumental for balaphone (solo break) and drums play continuous ostinati as before. - Chorus A 2 - Voices in for second verse (music much the same as before). - Voices out, then solo instrumental break on lower pitched balaphone. - Some variation in balaphone melody. 1.44 – 2.01 2.01 – 2.10 Close analysis of ‘Yiri’ Timing Analysis 2.10 – 2.45 -Solo with choral responses - A solo voice (call). Dramatic and new melody features long held notes and short punctuated notes on ‘Yiri’. - The drum ostinato continues. - Vocal melody has triplets. - Lower balaphone plays the same ostinato as bars 17-20. -Voices (choral response) in unison after the call at bar 63. - New melodic riffs in balaphones. Close analysis of ‘Yiri’ Timing Analysis 2.45-3.14 - Solo voice (call) again with long held notes. - Drums same as before. - Balaphone now plays a rhythmic three-note semiquaver melodic figure creating cross-rhythms. - Bar 71- solo voice. - Main features: triplet idea, syncopated rhythms, semiquaver-quaver rhythms. - Vocal response from the choir in unison - Solo voice (call) with some varied balaphone rhythms in a solo break. 3.15-3.19 3.20-3.28 Close analysis of ‘Yiri’ Timing Analysis 3.28-3.59 - Instrumental solos carry on. - New melodies on the balaphones. - Short three-beat (one-bar) rest before we have the next chorus. - Chorus B1 - Full choir in unison singing ‘Yiri’ with some short instrumental interjections to break up vocal lines. - Dialogue effects between voices and instruments. 4.00-4.31 4.31-4.45 Close analysis of ‘Yiri’ Timing Analysis 4.45-5.20 - Instrumental as a balaphone break. - Riffs with variations. - Quite extended and is based on the original melody with variations. - More virtuosic with rapid figuration featuring octave leaps and semiquaver and demisemiquaver patterns. - Chorus A3 - Full choir again in unison with instrumental interjections. 5.20-5.36 Close analysis of ‘Yiri’ Timing Analysis 5.36-6.24 - Instrumental ending played as a balaphone break. - This is very syncopated and the drums re-enter at bar 153, one bar before the coda. - Coda - Five two-bar phrases mostly in octaves end with dramatic rests observed by all instruments. - This has the sense of a strong riff. - There are some differences in notes on occasions (see bars 154-end) creating an heterophonic texture. - Drums play an ostinato (bar 153 -) - Piece concludes with a final ‘ting’ on the bell. 6.24 to end Plenary We will continue to analyse Yiri during tomorrow’s lesson. You will then answer a 10 mark essay question.