I Play Wassoulou, Jeli, Songhay and Tuareg Music: Adama Drame in Postcolonial Mali, Bimusical or Multimusical?
Adama is an accomplished guitarist in diverse Malian styles. The Malian guitarist is able to analyse the forms and contexts of the national musical styles he performs in regards to: the musical interaction with other musicians, timbre, rhythm and melody. In this article, I examine how Adama performs...
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| Formato: | Artículo revista |
| Lenguaje: | Inglés |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2014
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| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7445 |
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I28-R250-article-7445 |
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Universidad de Buenos Aires |
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El oído pensante |
| language |
Inglés |
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Artículo revista |
| author |
Amoros, Luis Gimenez |
| spellingShingle |
Amoros, Luis Gimenez I Play Wassoulou, Jeli, Songhay and Tuareg Music: Adama Drame in Postcolonial Mali, Bimusical or Multimusical? |
| author_facet |
Amoros, Luis Gimenez |
| author_sort |
Amoros, Luis Gimenez |
| title |
I Play Wassoulou, Jeli, Songhay and Tuareg Music: Adama Drame in Postcolonial Mali, Bimusical or Multimusical? |
| title_short |
I Play Wassoulou, Jeli, Songhay and Tuareg Music: Adama Drame in Postcolonial Mali, Bimusical or Multimusical? |
| title_full |
I Play Wassoulou, Jeli, Songhay and Tuareg Music: Adama Drame in Postcolonial Mali, Bimusical or Multimusical? |
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I Play Wassoulou, Jeli, Songhay and Tuareg Music: Adama Drame in Postcolonial Mali, Bimusical or Multimusical? |
| title_full_unstemmed |
I Play Wassoulou, Jeli, Songhay and Tuareg Music: Adama Drame in Postcolonial Mali, Bimusical or Multimusical? |
| title_sort |
i play wassoulou, jeli, songhay and tuareg music: adama drame in postcolonial mali, bimusical or multimusical? |
| description |
Adama is an accomplished guitarist in diverse Malian styles. The Malian guitarist is able to analyse the forms and contexts of the national musical styles he performs in regards to: the musical interaction with other musicians, timbre, rhythm and melody. In this article, I examine how Adama performs a wide range of Malian musical styles in Bamako; and how he represents and participates in different postcolonial musical cultures in Mali. In this article, Adama’s capability of understanding different national musical styles as part of the social contexts in a variety of musical cultures in Mali is defined as multimusical. Multimusicality debates the concept of bimusicality (Hood 1960) defined as the capacity of performing both, a western and non-western musical style; therefore separating musically the Self [western music] and the Other [non-western]. For Adama, the concept of multimusicality does not only extend the possibility of learning more than two musical styles, but examines the national styles he is able to play as a Malian citizen (insider) and not as the Other. This paper is based on my musical contact with Adama Drame during November-December 2006 in Mali and in the last eight years. |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2014 |
| url |
http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7445 |
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2023-06-27T21:04:07Z |
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I28-R250-article-74452020-11-09T21:00:47Z I Play Wassoulou, Jeli, Songhay and Tuareg Music: Adama Drame in Postcolonial Mali, Bimusical or Multimusical? Toco música wassoulou, jeli, songhay y tuareg: Adama Drame en Mali postcolonial, ¿bimusicalidad o multimusicalidad? Eu toco música Wassoulou, Jeli, Songhay e Tuareg: Adama Drame no Mali poscolonial, bimusical ou multimusical? Amoros, Luis Gimenez Adama is an accomplished guitarist in diverse Malian styles. The Malian guitarist is able to analyse the forms and contexts of the national musical styles he performs in regards to: the musical interaction with other musicians, timbre, rhythm and melody. In this article, I examine how Adama performs a wide range of Malian musical styles in Bamako; and how he represents and participates in different postcolonial musical cultures in Mali. In this article, Adama’s capability of understanding different national musical styles as part of the social contexts in a variety of musical cultures in Mali is defined as multimusical. Multimusicality debates the concept of bimusicality (Hood 1960) defined as the capacity of performing both, a western and non-western musical style; therefore separating musically the Self [western music] and the Other [non-western]. For Adama, the concept of multimusicality does not only extend the possibility of learning more than two musical styles, but examines the national styles he is able to play as a Malian citizen (insider) and not as the Other. This paper is based on my musical contact with Adama Drame during November-December 2006 in Mali and in the last eight years. Adama es un guitarrista competente en diversos estilos musicales de Malí. El guitarrista maliense es capaz de analizar las formas y contextos de los estilos musicales nacionales que interpreta en lo que respecta a: la interacción musical con otros músicos, el timbre, el ritmo y la melodía. En este artículo, examino cómo Adama toca una amplia gama de estilos musicales de Malí en Bamako y la forma en que él representa a y participa en diferentes culturas musicales en Mali. La capacidad de comprensión de los diferentes estilos musicales nacionales de Adama sedefine como multimusical. La multimusicalidad critica el concepto de bimusicalidad (Hood 1960), definido como la capacidad de conocer dos estilos musicales, occidental y no-occidental; por lo tanto, conceptualiza musicalmente al “Yo (occidental) y al Otro (no-occidental)”. Para Adama, el concepto de multimusicalidad no solo ofrece la posibilidad de aprender más de dos estilos musicales, sino que examina los estilos musicales que es capaz de interpretar desde una perspectiva nacional como ciudadano de Mali. La reflexión se basa en mi trabajo de campo con Adama Drame durante noviembre y diciembre de 2006 en Malí que incluye un acercamiento personal en los últimos ocho años. Adama é um guitarrista que toca diversos estilos musicais do Mali. O guitarrista do Mali é capaz deanalisar as formas e contextos dos estilos musicais nacionais que executa no que diz respeito: à interação musical com os outros músicos, ao timbre, ao ritmo e à melodia. Neste artigo vou discutir como Adama toca uma ampla gama de estilos musicais do Mali em Bamako; e a forma como representa e participa em diferentes culturas musicais no Mali. A capacidade de compreensão dos diferentes estilos musicais nacionais de Adama é definida como multimusical. A multimusicalidade critica o conceito de bimusicalidade (Hood 1960) definido como a capacidade de conhecer os estilos musicais ocidentais e não ocidentais; para tal distingue musicalmente o “eu” (música ocidental) e o “outro” (música não ocidental). Para Adama, o conceito de multimusicalidade amplia a possibilidade de aprender mais do que dois estilos musicais e questiona os estilos musicais que é capaz de tocar como cidadão do Mali (insider) e não como o “outro”. Este artigo está fundamentado no meu contato musical com Adama Drame durante os meses de Novembro e Dezembro de 2006 e nos últimos oito anos. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2014-08-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7445 El oído pensante; Vol. 2 Núm. 2 (2014): Agosto 2014 - Enero 2015 El oído pensante; Vol 2 No 2 (2014): Agosto 2014 - Enero 2015 El oído pensante; v. 2 n. 2 (2014): Agosto 2014 - Enero 2015 2250-7116 eng http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7445/6659 |