Howard Dietz1

Two music cultures analyzed: South India and West Africa

One recurring device, in the music we’ve been studying in class, has been improvisation.

In modern western society, popular music is usually more formulaic and organized. That is

because music is treated as a product to be readily consumed (Titon 2009, 23). But in many non-

western cultures, improvisation plays a vital part in the expression of the art. India’s classical

music during British reign, for example, was “ridiculed because the music was not written down

‘as proper music should be’” (Titon 2009, 3). Similar to the music of Africa, the stereotypes that

this kind of music is impulsive and unorganized, is actually quite the opposite. Both South Indian

Carnatic music and the rhythms of West Africa are very complex and thus organized; they share

many similarities and differences.

India contains a rich culture relative to the arts including wonders such as the Taj Mahal,

Sanskrit poetry and a classical art form of music that has been developed since the oldest

scriptures of Hinduism were written in 1500 – 500 BCE (Iyengar 1972). In the fact, the origins

of Indian music are traced back to the Sama Veda, one the four scriptures of Hinduism written

2000 years before Christ (Iyengar 1972, 3). Priests would also chant the the scriptures to a

selection of scales. These scales, used today, later became known as ragas, which can be defined

as “melodic form created out of endless variation of succession of notes” (Bhagyalekshmy 3).

Today, Indian music is categorized into two styles, the Hindustani music of North India and the

classical Carnatic music of South India. Carnatic music has closer ties to Hinduism while

Hindustani is a fusion of Islamic and Hindu culture. The word “Veena”, for example, used to be

a word to describe all stringed instruments in ancient India, but today it used as a specific name

for a specific instrument used in Carnatic ensembles. It was said that the Hindu saint Narada

invented the Veena under the supervision of Saraswathi, the goddess of music (Leela 1976, 1). It
 Howard Dietz2

can be drawn that the people of India who play music do so with an acknowledgement of the past

and supernatural.

While classical music in South India functions primarily as a reflection of history,

culture, and specific religion, the people of Ghana use music in multiple scenarios; they use

music for more social situations (rituals, funerals) then artistic ones (Locke 2009, 85). Unlike

those in western civilization “music is not a luxury, but a part of the process of living itself” for

the African people (Warren 1970, 3). Music is just as necessary as breathing or walking and

that’s true for all African peoples including the people of Ghana. One style of Ghanaian

ritualistic music of the Ewe speaking people is Agbekor which includes dancing and chanting.

Agbekor, when it was first conceived, was originally intended as a war cry before and after

battle. The words that are sung and chanted “articulates their invincibility” (Dor 2014). Today,

Agbekor is performed in Ghanaian drum ensembles and at funerals (Locke 2009, 91). The Ewe

believe that there is a rite of passage in a funeral ceremony to become an “Ancestral Spirit”.

These ceremonies naturally involve music, drumming and dance in which Agbekor is possibly a

part of (Locke 2009, 91).

South Indian music has unique features that separates it from its counterpart in the north.

Carnatic music is oriented towards composed ancient Hindu religious songs while Hindustani

has less Hindu lore associated and more improvisatory techniques (Reck 2009, 264). For

example, the lyrics to the Hindu devotional “Devi Niye Tunai” talks about the origin of certain

deities and for a blessing of protection from them (Reck 2009, 279). Certain Ghanaian music and

dance is used for ritualistic purposes such as bringing a good harvest, but they are used for just

that; They don’t tell any religious story in process. The Ewe believe that Mawu, the creator of

everything, is a removed deity (Locke 91).

 Howard Dietz3

Classical South Indian instruments in a typical classical setting include the Veena,

Mringdam, and the tambura. The mringdam is a double sided drum and the tambura is a stringed

instrument that functions as a drone (Reck 2009, 283). The standard song form for any

composition is called kriti and the most common time signature is adi-tala which subdivides 8

beats into 4+2+2 (Reck 2009, 279). This form and time signature is clear and has a set sections

within the kriti. The mringdam player keeps the pulse, but is also free to fill in spaces with

improvised lines.

Similarly, Ewe drumming has that similar formation, however there are many more sonic

layers due to instrumentation. The primary instruments used in the Ewe drumming include the

atsimevu, axatse and the gankogui. The gankogui, a double bell instrument, functions as the

rhythmic pulse/motif for any kind of Ewe music. It is the foremost heard sound in the ensemble,

as it needs to be, to congeal the performers and music together. The rattle instrument, the axatse,

subdivides the bell pattern to make it stronger and the clapping patterns add pulsating

polyrhythmic layers to the cycle (Locke 1982). Polyrhythms are heard more vertically in African

drumming due to contrasting roles, while polyrhythms are heard horizontally in Carnatic music

due to a typical single percussive role. The atsimevu is the “master drum” that signals the end or

beginning of cycles. Like Carnatic music, there is the freedom to improvise over the other drums

repeated cycle of rhythms. The other drummers are the equivalent of the tambura in Carnatic

music, but on rhythmic plane instead of the pitched; they act as a base to improvise on.

One major difference between the musicians of South Indian and Ghana is performance

practice and environment. Carnatic music, traditionally was performed in temples sitting down

and for nobles called rajas (Locke 2009, 277). Similarly, now Indian classical music is

performed for audiences indoors still seated and surrounded by colorful embroidery. Indian
 Howard Dietz4

music, although still authentic, is now commercialized and monetized such prominent sitar

player Ravi Shankar. In contrast, almost no traditional music of Africa has been professionalized

or profited on on a big scale. Most ceremonies, such as Agbekor take place outdoors amongst the

masses and most members including the drummers, dancers and singers are required to stand

(Locke 2009, 263). African music is something to experience as a people rather than observe

individually. I think that since India is more pervasively developed it has found more ways to

profit in various art forms and it seems the culture has no problem permitting that. As opposed to

the people of Africa, music is seen as a necessity, so to sell something like your breath would

probably be the equivalent thought process.

Both cultures share many musical traits such as improvisation, rhythmic devices. But

they also share many differences including performance practice and religious underpinnings.

Both, however, share a rich history and development of their own unique style and sound that,

when understood, can be appreciated by anyone.

 Howard Dietz5

Reference List

David Locke, David B. Reck, Jeff Todd Titon et all, Worlds of Music: An Introduction to the

Music of the World's Peoples. (Belmont: Schirmer, 2009), 3-283.

David Locke, "Principles of Offbeat Timing and Cross-Rhythm in Southern Eve Dance

Drumming." Ethnomusicology 26(2) (1982): 217.

Fred Warren, Lee Warren, and Penelope Naylor, The music of Africa; an introduction.

(Englewood Cliffs: Prentice-Hall, 1970), 3.

George Worlasi Kwasi Dor, West African Drumming and Dance in North American

Universities: An Ethnomusicological Perspective. (Jackson: University Press of

Mississippi, 2014).

Rangaramanuja Iyengar, R. 1972. History of South Indian (Carnatic) Music, from VedicTtimes to

the Present (Madras, India: Sabarmati 1972), 1-3.

S. Bhagyalekshmy, Ragas in Carnatic music. Trivandrum, S. (India: CBH Publications, 1990), 3.

S.V. Leela, Veena, self-taught: an introduction to Carnatic music. (Madras: V.P.S Printers

1976), 1.