Lesson Notes By Weeks and Term v3 - Senior Secondary 1
Pre-colonial African music
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Pre-colonial African music
Download the Lessonotes Mobile Nigeria 2025 app for faster lesson access on Android and iPhone.
Subject: Music
Class: Senior Secondary 1
Term: 3rd Term
Week: 3
Theme: History And Literature Of Music Iii
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Students should be able to identify traditional musical in struments. recognize them in any ensemble of available in struments.
While primarily an aerophone, some variations may have sympathetic strings or be played alongside stringed instruments. It's important to clarify it's a wind instrument. _Musical Bow_: A simple string instrument, often a bent stick with a string stretched between its ends, either plucked or struck.
4. Aerophones (Air-sounders): Instruments that produce sound primarily by causing a body of air to vibrate, typically by blowing into them.
Examples in Nigeria: _Kakaki_: Long metal trumpet (Hausa, Fulani). A ceremonial trumpet, usually 3-4 meters long, made of brass or copper. Produces a loud, deep, majestic sound, used in royal courts and at important events. _Flutes_: Various types made from bamboo, wood, or animal horn (e.g., Sere - Fulani flute, Oja - Ibo flute). Blown directly or across a hole. _Horns_: Made from animal horns (e.g., cow, antelope). Blown through a hole at the tip, producing a strong, resonant sound for communication or ceremonial purposes. _Algaita_: Double-reed instrument (Hausa, Fulani). Similar to an oboe, with a piercing, vibrant sound, used in royal music and for signaling.
Musical Ensemble: In pre-colonial African music, an ensemble refers to a group of musicians playing different instruments together to create a unified musical piece. These ensembles are often characterized by: Polyphony and Polyrhythm: Multiple independent melodic lines and interlocking rhythmic patterns played simultaneously.
Layering: Different instruments playing distinct rhythmic or melodic roles that interweave.
Call-and-Response: A common pattern where a lead instrument or vocalist presents a phrase ("call") which is then answered by other instruments or voices ("response").
Improvisation: Musicians often have freedom to embellish and vary their parts within the established structure. * Functional Purpose: Ensembles are usually formed for specific functions, such as festivals, ceremonies, storytelling, or dance.
Worked Example for Categorization: Task: Classify the following Nigerian instruments into their correct Hornbostel-Sachs categories and briefly describe how they produce sound: _Gangan, Ogene, Goje, Kakaki, Sekere._ Solution:
1. Gangan: Membranophone. Sound is produced by the vibration of a stretched animal hide membrane, controlled by squeezing the thongs to alter pitch.
2. Ogene: Idiophone. Sound is produced by the vibration of the metal body itself when struck with a stick.
3. Goje: Chordophone. Sound is produced by the vibration of a string, which is typically bowed.
4. Kakaki: Aerophone. Sound is produced by the vibration of a column of air inside the long metal tube, activated by the player's lips.
5. Sekere: Idiophone. Sound is produced by the vibration of the dried gourd and the beads on its net when shaken or struck.
Pre-colonial African Music: This refers to the musical traditions, practices, and forms that existed across the African continent before the significant impact of European colonization. It is characterized by its oral tradition (passed down through generations without written notation), functional nature (music for specific events like work, ceremonies, rites of passage, worship, entertainment), communal participation, and strong emphasis on rhythm, improvisation, and call-and-response patterns. Music was deeply integrated into daily life and rarely performed purely for aesthetic pleasure, often accompanying dance, drama, and storytelling.
Traditional Musical Instruments: These are the tools used to create music in pre-colonial African societies. They are typically made from locally sourced natural materials (wood, gourds, animal hide, bone, metal, calabash, seeds, bamboo, clay). Their construction often reflects local craftsmanship, spiritual beliefs, and the available resources of a particular community. African musical instruments are broadly classified into four categories based on the Hornbostel-Sachs system:
1. Idiophones (Self-sounders): Instruments that produce sound primarily by the vibration of their own material without the use of membranes, strings, or reeds.
Examples in Nigeria: _Sekere/Shekere_: A beaded gourd rattle (Yoruba, Ibo, Edo). The beads, made from seeds or shells, are strung on a net covering a dried gourd, producing sound when shaken or hit. _Ogene_: Metal gong (Ibo). Usually made of forged iron, shaped like a bell or boat, struck with a wooden stick. Produces a resonant, penetrating sound. Often played in sets of varying sizes. _Ekwe_: Slit drum (Ibo, Edo). Carved from wood, with a long, narrow slit at the top. Struck with a stick, producing different pitches depending on where it's hit, used for communication and music. _Udu_: Clay pot drum (Ibo). A round clay pot with a hole at the side. The player strikes the side hole or top opening with the hand, producing a deep, resonant bass sound and percussive clicks. _Maraca/Egg-shakers_: Rattles filled with seeds or beans, often made from small gourds or woven materials. _Clappers_: Wooden or metal pieces struck together.
2. Membranophones (Membrane-sounders): Instruments that produce sound primarily by means of a vibrating stretched membrane (animal skin or synthetic material). These are commonly known as drums.
Examples in Nigeria: _Gangan/Dundun_: Talking drum (Yoruba). An hourglass-shaped drum with two drumheads connected by leather thongs. The player holds it under the arm and squeezes the thongs to change the pitch, mimicking human speech. Played with a curved stick. _Iya-ilu_: Mother drum, often refers to the largest talking drum or lead drum in a Yoruba percussion ensemble. _Batá drums_: Set of three or four drums (Iyá, Itótele, Okónkolo) of varying sizes (Yoruba). Double-headed, hourglass-shaped, played with hands. Essential in traditional Yoruba religious music. _Konga_: Though often associated with Latin America, similar conically shaped drums with stretched hides are found across West Africa (e.g., Ewe 'Gankogui' drums, but distinct). In Nigeria, various single-headed cylindrical drums are common. _Tambourine (without jingles)_: Handheld frame drum with a single membrane.
3. Chordophones (String-sounders): Instruments that produce sound by means of vibrating strings, which can be plucked, bowed, or struck.
Examples in Nigeria: _Goje_: Fiddle/Lute (Hausa, Fulani). A one-stringed bowed lute with a calabash resonator covered with snake or lizard skin. Played with a bow, similar to a violin. _Kora_: Harp-lute (found in West Africa, including northern Nigeria). Has 21 strings, a large calabash resonator covered with animal hide, and a long neck. Plucked with the fingers. _Molo_: Skin-covered lute (Hausa). A two to four-stringed plucked lute, similar to a banjo. Made from a wooden trough or calabash with a skin soundboard. _Algaita_: While primarily an aerophone, some variations may have sympathetic strings or be played alongside stringed instruments. It's important to clarify it's a wind instrument. _Musical Bow_: A simple string instrument, often a bent stick with a string stretched between its ends, either plucked or struck.
4. Aerophones (Air-sounders): Instruments that produce sound primarily by causing a body of air to vibrate, typically by blowing into them.
Examples in Nigeria: * _Kakaki_: Long metal trumpet (Hausa, Fulani). A ceremonial trumpet, usually 3-4 meters long, made of brass or copper.
Produces a Teacher Activities: Introduction (10 min): Initiate a brief discussion on what students understand by "traditional music" in Nigeria. Present pictures or short audio/video clips of various pre-colonial African music performances and instruments. Introduce the topic "Pre-colonial African Music" and state the learning objectives for the lesson.
Key Concepts Explanation (20 min): Explain the characteristics of pre-colonial African music (oral, functional, communal, rhythmic). Introduce the four main classifications of musical instruments (Idiophones, Membranophones, Chordophones, Aerophones) using the Hornbostel-Sachs system. For each category, provide detailed explanations and show visual aids (pictures/diagrams) of specific Nigerian instruments. Demonstrate (if possible) the sound of some instruments using available school resources or pre-recorded audio. Instrument Identification and Recognition (25 min): Display a diverse collection of pictures or actual traditional instruments (if available in school). Guide students to identify each instrument by name and categorize it. Play short audio excerpts of different instruments (solo or in small groups) and ask students to identify them. Discuss the materials used in their construction and their cultural significance in different Nigerian contexts.
Ensemble Concept and Practice (30 min): Explain the concept of a "musical ensemble" in the context of pre-colonial African music (layering, polyrhythm, call-and-response). Divide the class into small groups (e.g., 4-5 students per group). Assign each group or individual student a "role" representing an instrument type (e.g., "Gangan" group for main rhythm, "Sekere" for shaker patterns, "Ogene" for time-keeping). Using simple rhythmic patterns (e.g., clap, tap, vocal sounds, or basic classroom percussion like shakers, drums), guide the students to play a short, simple ensemble piece. Model a basic rhythm, then introduce another layer, encouraging students to listen and blend. Rotate instrument roles/rhythms among groups to ensure all students experience different parts.
Recap and Q&A (5 min): Review the main types of instruments and their classifications. Address any questions or misconceptions.
Student Activities: Active Listening and Observation: Observe visual aids (pictures/videos) and listen to audio samples of pre-colonial African music and instruments.
Identification and Categorization: Identify instruments shown or heard and classify them into their correct Hornbostel-Sachs categories.
Discussion and Sharing: Participate in discussions about the cultural significance and construction materials of the instruments.
Ensemble Participation: Work in groups to practice and perform simple rhythmic patterns, simulating a traditional African ensemble using available classroom resources (clapping, body percussion, improvised instruments).
Note-taking: Record key definitions, instrument names, and their classifications.
Resources: Pictures/posters of Nigerian traditional musical instruments (e.g., _Gangan, Sekere, Ogene, Goje, Kakaki, Ekwe, Udu, Bata_ drums, Flutes, Horns). Audio recordings/video clips of pre-colonial African music featuring various instruments. (Optional but highly recommended) Actual traditional instruments or improvised classroom percussion (e.g., shakers made from plastic bottles, wooden blocks, buckets for drums). Whiteboard/chalkboard for notes and diagrams.
Purpose: To reinforce the identification and recognition of traditional musical instruments and their categories.
Question 1: An instrument is described as a "talking drum" that has an hourglass shape, two drumheads, and its pitch can be altered by squeezing strings. Which category of instrument does it belong to, and what is a common name for it in Nigeria?
Solution 1: Category: Membranophone Common Name in Nigeria: Gangan or Dundun (Yoruba)
Commentary: The description clearly points to a drum with a membrane, and the "talking drum" feature is a defining characteristic of the Gangan/Dundun.
Question 2: Imagine you are listening to a piece of music from Northern Nigeria. You hear a loud, piercing wind instrument, often used in royal ceremonies, with a double reed. What is this instrument likely to be, and how does it produce sound?
Solution 2: Instrument: Algaita Sound Production: It produces sound by the vibration of air when the player blows through its double reed, causing the air column inside the instrument to resonate.
Commentary: The keywords "Northern Nigeria," "piercing wind instrument," "royal ceremonies," and "double reed" are strong indicators for the Algaita, an aerophone.
Question 3: A Nigerian ensemble uses instruments made from gourds with beads strung over them, and iron bells struck with sticks. Identify the two types of instruments described and their respective Hornbostel-Sachs categories.
Solution 3: Instrument 1: Beaded gourd instrument – Sekere (or Shekere)
Category: Idiophone Instrument 2: Iron bells – Ogene Category: Idiophone
Commentary: Both instruments are self-sounders. The Sekere vibrates through its body and beads, while the Ogene vibrates through its metal body when struck.
Question 4: A group of students is tasked with performing a simple rhythmic pattern using only available classroom items. One student uses an empty plastic bottle filled with pebbles, another taps a wooden ruler on a desk, and a third student claps. If these were traditional African instruments, what categories would they represent?
Solution 4: Plastic bottle with pebbles: Represents a rattle like a Sekere – Idiophone.
Wooden ruler on a desk: Represents a woodblock or slit drum like an Ekwe – Idiophone.
Clapping (body percussion): Represents a percussive sound, often associated with idiophones or membranophones (as a substitute for drums) in a broader sense of rhythmic contribution. Most directly, it's an idiophone (hands striking hands).
Commentary: This question encourages students to relate common sounds to instrument categories, reinforcing the fundamental ways sound is produced in traditional music. All these examples are self-sounders.
Cultural Festivals and Ceremonies: Knowledge of pre-colonial African music allows students to understand and appreciate the music performed at local festivals (e.g., New Yam Festival, masquerade festivals, chieftaincy installations, traditional weddings). They can identify the instruments, understand their roles, and appreciate the cultural narratives embedded in the music, fostering a deeper connection to their heritage.
Modern Nigerian Music Industry: Many contemporary Nigerian musicians, particularly in genres like Afrobeat, Highlife, and traditional gospel, draw heavily from pre-colonial musical forms and instrumentations. Students can recognize how traditional rhythms (e.g., _gangan_ patterns, _sekere_ shuffles) and melodic structures (e.g., _goje_ or _kora_ influenced melodies) are adapted into modern compositions, highlighting the enduring relevance of traditional music.
Instrument Making and Entrepreneurship: Understanding the construction materials and techniques of traditional instruments can inspire students to learn instrument crafting as a skill. This can lead to vocational opportunities in making, repairing, or selling traditional instruments, contributing to local craft industries and cultural preservation efforts in Nigeria.