Title: "Let All Religions Come Together"
Performers: Akuseka Takuwa Kongo Group
Culture/Origin: Mbale, Uganda
Orchestration: Percussion, Strings, and Voice
In, Thinking Musically, Wade (2013) states, "In many instances, musical selections are structured in response to something in the context" (p. 48). That is to say, the interaction involved in a selection bears significance to the overall piece. In this selection, "Let All Religions Come Together", context is evident in what Wade describes as, intra-interaction. She defines this as the interaction among members of an ensemble. This would include subtle and overt communication. One of the most commonly recognized forms of intra-interaction is, call and response. This piece opens with a few bars of call and response before the soloist begins with the verses. From that point on, the interaction between the musicians can be heard in the subtle variances made in their ostinati. Also, the musicians clearly play off of their interaction with their improvisation on their own instruments. The result is varying complex rhythms heard throughout the song.
Reference
Wade, B. C. (2013). Thinking musically: Experiencing music, expressing culture. New York: Oxford University Press.
Chastity-
ReplyDeleteThanks for sharing. The call and response was evident in the beginning portion the piece. This takes me back to one of our very first examples and lessons about actually calling something "Music" from the mellifluous recitation of the sacred Qur'an (CD track1-1). Is this truly a musical piece or a form of melodic religious expression? Nonetheless, I enjoy hearing the kalimba played in an ensemble because a colleague of mine owns one but only plays with it for fun. I also enjoyed the message of spreading solidarity among the people of different religious practices as this definitely a part of learning about different cultures.
Good post. I would have liked a little more reflection on the piece itself but good answer to this week’s prompt.
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