Ghanian music comes from the North, South, East and West. The most popular of which generally comes from the Northern or Southern areas. Ghana music is very different in style based on on which area the music is born. Drummers and dancers often improvise at regular meetings and special events. So, while there may be sheet music for some material, other material is not created except for in the improvisations and paradigms which are part of the show.
North and South Ghana have very different musical taste. Northern traditions come from Sahelian traditions. Sahelian features a combination of melody and stringed instruments. Some common instruments in the North and South are the kologo lute and the gonjey fiddle, wind instruments, voice, drums and percussion.
Notes flow almost effortlessly thanks to the chromatic and pentatonic scales used in Northern and Southern Ghana. Chanting, praise-singing and story telling are all essential to the people and identity of these areas. Whereas, other areas are more prone to rhythmic beats surrounding by the softness of strings and at times, voice.
Set to a chromatic and pentatonic scale, melody plays a major role in different arrangements. Vocal styles are also an important element. One reason why the praise singing and griot traditions remain alive and well in the region.
Coastal styles are often associated with social functions. These style rhythms rely on complex patterns played on bells and drums. Like many other parts of Africa, there is also a strong correlation between drum and dance. One of the most popular attractions at many festivals and shows in the United States and around the world are that of African drummers and dancers from Ghana.
Religion in the area is also associated with coastal tunes. With one exception, the music is of a chanting, storytelling or vocal accompanied by harp-lute which is a derivative of the stringed harp. The most well known drums in the region are of that of the adowa and kete with bells. While this music may be associated with different religions, it should be noted it is the religion that sought out the religion and not vice versa.
In 1957, Ghana won her independence. Since that time, it has developed quite a musical identity. For example, the 20th century saw the onset of pop and dance pop. Pop-dance has continued in popularity over the years even with the introduction of Highlife and Hiplife.
High-life combines elements of soukous, ska, rock, jazz and swing. Ghanian traditions found a pathway into the United States in the late 60s and early 70s. While successful, it was not the level of success some had expected. The music also became popular albeit only briefly in the U. K. One of the main success stories of Ghanian music is that Osibisa's Afro-rock which became quite well known in the 1970s.
During the depression and years following, the clubs stayed fairly active and hopping. The popular years for electric guitar and dance-pop were mostly in the 70s. At least that is the case until German-Highlife took over with Burger-Highlife and other forms which are still popular. The Burger-Highlife, Dance Pop and German-Highlife are often some of the most influential and listened to music in and outside Ghana.
North and South Ghana have very different musical taste. Northern traditions come from Sahelian traditions. Sahelian features a combination of melody and stringed instruments. Some common instruments in the North and South are the kologo lute and the gonjey fiddle, wind instruments, voice, drums and percussion.
Notes flow almost effortlessly thanks to the chromatic and pentatonic scales used in Northern and Southern Ghana. Chanting, praise-singing and story telling are all essential to the people and identity of these areas. Whereas, other areas are more prone to rhythmic beats surrounding by the softness of strings and at times, voice.
Set to a chromatic and pentatonic scale, melody plays a major role in different arrangements. Vocal styles are also an important element. One reason why the praise singing and griot traditions remain alive and well in the region.
Coastal styles are often associated with social functions. These style rhythms rely on complex patterns played on bells and drums. Like many other parts of Africa, there is also a strong correlation between drum and dance. One of the most popular attractions at many festivals and shows in the United States and around the world are that of African drummers and dancers from Ghana.
Religion in the area is also associated with coastal tunes. With one exception, the music is of a chanting, storytelling or vocal accompanied by harp-lute which is a derivative of the stringed harp. The most well known drums in the region are of that of the adowa and kete with bells. While this music may be associated with different religions, it should be noted it is the religion that sought out the religion and not vice versa.
In 1957, Ghana won her independence. Since that time, it has developed quite a musical identity. For example, the 20th century saw the onset of pop and dance pop. Pop-dance has continued in popularity over the years even with the introduction of Highlife and Hiplife.
High-life combines elements of soukous, ska, rock, jazz and swing. Ghanian traditions found a pathway into the United States in the late 60s and early 70s. While successful, it was not the level of success some had expected. The music also became popular albeit only briefly in the U. K. One of the main success stories of Ghanian music is that Osibisa's Afro-rock which became quite well known in the 1970s.
During the depression and years following, the clubs stayed fairly active and hopping. The popular years for electric guitar and dance-pop were mostly in the 70s. At least that is the case until German-Highlife took over with Burger-Highlife and other forms which are still popular. The Burger-Highlife, Dance Pop and German-Highlife are often some of the most influential and listened to music in and outside Ghana.
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