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.
Praise singing is and has always been a vibrant part of this tradition. Chanting and storytelling are also aspects though not as common or ongoing as praise singing. The drums with bells and stringed instruments together have been reported often take journeyers and seekers deeper into meditation.
Northern styles are set to a minor pentatonic or chromatic scale and melisma plays an important part in melodic and vocal styles. There is a long history of northern styles also being inclusive of the griot and praise-singing traditions.
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.
Coastal tunes can also be associated with many traditional religions. One exception to this rule is material from the Seperewa harp-lute whose origins are in the stringed harps of the North and West. The most well known drums of southern Ghanian drum traditions is that of the adowa and kete drum ensembles with bells.
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.
Guitar bands and other genres were popular during the 70s. Prior to that time, music of the depression, 40s, 50s, and 60s was often more easy listening than rock and roll. Later, when German-Highlife took over the scene, a rendition of burger-highlife was also founded by Ghanian based Germans. George Darko has always been one of the best known musicians of Ghana, partly because he founded this new genre of polka like rock and roll.
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.
Praise singing is and has always been a vibrant part of this tradition. Chanting and storytelling are also aspects though not as common or ongoing as praise singing. The drums with bells and stringed instruments together have been reported often take journeyers and seekers deeper into meditation.
Northern styles are set to a minor pentatonic or chromatic scale and melisma plays an important part in melodic and vocal styles. There is a long history of northern styles also being inclusive of the griot and praise-singing traditions.
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.
Coastal tunes can also be associated with many traditional religions. One exception to this rule is material from the Seperewa harp-lute whose origins are in the stringed harps of the North and West. The most well known drums of southern Ghanian drum traditions is that of the adowa and kete drum ensembles with bells.
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.
Guitar bands and other genres were popular during the 70s. Prior to that time, music of the depression, 40s, 50s, and 60s was often more easy listening than rock and roll. Later, when German-Highlife took over the scene, a rendition of burger-highlife was also founded by Ghanian based Germans. George Darko has always been one of the best known musicians of Ghana, partly because he founded this new genre of polka like rock and roll.