The panning on this break is very odd, so I used the Ableton Utility plugin to make it (almost) mono. Then I transposed it down one semitone so it would match one of the student samples. I also made a sparser variant on the break by manually deleting about half of the drum hits in Arrange view, like so:
I used the same approach as the flute sample above: loaded it into Simpler and improvised around with it on the Push, though this time in Classic mode rather than Slice mode. I also put some compression and delay on it. The inherent rhythm of the ringtone interacts nicely with the overall groove of the track, and the note layout on the Push makes it really easy to play fourths chords.
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There are a couple of appealingly rhythmic segments of this recording, including a clicking turn signal. As with the chopping onions sample, I only partially quantized the driving samples to preserve some of their natural rhythm. Then I put on compressor, gate, and the Dub Syndicate preset on Echo.
Sample-based musics represent a collapse of the dichotomy between musical ideas and their expression (Katz, 2010, p. 156). There is some similarity between composing variations on a melody and flipping a sample, but they do not have the same meaning.
Incorporating samples into your music is one thing, but looping them is another. You can deal with the philosophical aspects of sampling by making musique concrte, but when you introduce endless looping, you introduce another dimension of musical transformation, one that inevitably moves you toward the cyclical aesthetics of the African diaspora.
[L]ooping automatically recasts any musical material it touches, insofar as the end of a phrase is repeatedly juxtaposed with its beginning in a way that was not intended by the original musician. After only a few repetitions, this juxtaposition, along with the largely arbitrary musical patterns it creates, begins to take on an air of inevitability. It begins to gather a compositional weight that far exceeds its original significance (Schloss, 2013, p. 137).
Computers make it easier to compose, perform, and record music. But the real significance of the digital studio is that it affords another mode of creation, namely, production. This mode incorporates elements of composition, performance and recording, but it is more than the sum of those parts. Musicians like Brian Eno were doing production with multitrack tape, but that was expensive and difficult. Computers have brought production to the masses, and in doing so, have opened up a new set of understandings of what musical creation can be.
The Ivory Coast is located on the southern coast of western Africa between Liberia and Ghana. Because this region originally encompassed both the Ashanti and Mandingo empires, the largest ethnolinguistic groups are Akan and Mande. Most people also speak some French due to their century-long colonization. About two-thirds of the population work in agriculture, primarily producing cocoa beans, coffee and palm oil. It is one of the fastest growing economies in sub-Saharan Africa thanks to its cocoa export. At present, about 60% of the population is under the age of 25. About 42% of the population is Muslim and there is still a large Catholic population due to the former colonization by the French. Much of the population also continues to practice parts of traditional religions, especially rituals including music and dance.
Coup-dcal grew as a celebration of affluence, and the music is made for a contemporary dance floor. The focus is on the singer praising members of the audience, club owners, or dancers. The style borrows from the griot tradition in West Africa where the griot sings praises in exchange for money in the form of tips. It also features rhythmic patterns and dance structures from traditional Ivorian musical styles.
There is no one traditional music throughout all of the Ivory Coast. In fact, each cultural group has its own traditional genres of music. The cultural groups most noted for their music are the Baoul, Dan, Senufo, Yakouba, Mande, and Akan peoples, and much of their traditional music accompanies specific dances with specific rhythmic patterns.
Dance masks are often sacred and bring their associated spirit to the community; the dancer wearing the mask literally becomes the spirit that the mask embodies. Individual performances themselves can be both sacred and secular, depending on the specific occasion of the dance. Dance in general has many functions, while specific dances have specific functions. The Zaouli dance wards off danger.
Dances can be performed at many different types of events. Dances are part of community events like ceremonies, celebrations, weddings, funerals, competitions, and festivals in their own village and neighboring villages. Dance events can also include tourist-oriented festivals, speeches by visiting government ministers, official political public relations functions, public company parties, and school openings. With their loud instruments and large gatherings they take place outside in central community spaces.
Many masks have specific rules governing performance roles. Drummers do not dance, but rather play specific rhythms that correspond to specific dance steps. For the Zaouli, only men perform. Because the drum and dance patterns are so specific, training is extensive. Older dancers teach younger dancers in evening training sessions and informal community dances, and younger dances learn in the dance rings they watch and imitate. At certain points spectators, both men and women, can enter the dance, but they need to know when those points are.
Click on this link to watch this video of several short clips from a 2018 Zaouli Dance performance. This Zaouli dance, like all Ivorian mask dances, is performed outside in the center of a circle. It combines improvised movements with very specific dance steps and rhythms. Throughout the different clips of this longer performance event, we can see the different roles that people play, including the main masked dancer, a central non-mask dancer, the instrumentalists, the viewing audience, and two members of the audience who separately each temporarily join the masked dancer. The instrumentalists include seven drummers playing different types of drums, including two djembes. The drummers are accompanied by a bell player and two flute/whistle players on pipes that continuously repeat short melodic patterns. Most of the time the audience sits, stands, and meanders about the outside of the circle, and the soundtrack includes chatter and conversations of the audience as background noise.
In the first clip of this Zaouli Dance performance, we see the mask dancer begin to move rhythmically, get up and wander in the circle a bit. The non-masked dancer cleans up the dance ground and encourages the masked performer to dance by dancing a bit first. During this introduction section, the instruments are playing to establish the speed and patterns of the dance. Around the two minute mark, the masked dancer begins specific dance steps, which coincides with specific musical patterns in the instruments. The pattern in the loud wind instrument (a whistle) is the easiest to hear. Even though this instrument has pitch, it still focuses on the rhythm rather than a melody. The whistle part, which is played by two whistles, has one pitch per whistle so that layer has two notes- and they are notated here with 1 as the lower 1 and 2 as the higher pitch. The notes are all of the same quick duration except at the end of the phrases where longer notes are designated with periods. Once the set dance patterns start at 2:07 the flute pattern is
In the second clip of the Zaouli dance performance, the rhythm is full of breaks that are timed with the choreography very precisely. There are several segments where the whistle and drums accent notes, breaking up the patterns. These accents are matched exactly with the dancers movements, also accented. The second clip begins at 3:00, with the masked dancer walking a bit and listening to the instruments which are playing cyclical patterns. At 3:28 he begins to move his upper body and arms. At 3:40 he and the instrumentalists begin to break up the patterns by hitting the same beats. At 4:03 the dancer begins to move his feet, and again, he moves simultaneously with instrumental accents rather than recurring patterns. At 4:28 the instrumentalists return to their cyclical patterns, as the dancer moves around the circle. At 4:39 the instrumentalists and dancers break up the patterns again replacing them with accented beats and movements until 4:49 when they return to their patterns.
Focus on the audience members dance. The first one begins at 5:10 and the second one begins at 5:50. Pick one and watch about 10 seconds or so until you can see what the dancers are doing. Play it a few more times and dance with them.
Listen to the singer Molare perform for a live audience. Molare was one of the founders of the music and has continued to move the music forward. The use of patterns, particularly those of the vocal or whistle similar to those found in traditional music, was adopted in the sound of coup-dcal which is set to loops with repeated rhythms played on the electric guitar and bass, or occasionally, a synthesizer.
A loop is a recorded bit of sound that can be copied and pasted into a recording repeated simply by pasting it into a computer file. In styles of music such as hip hop and techno and coup-dcal layers of the texture are created by repeating loops. As a physical loop is something that goes round and round and never ends, a musical loop is used specifically to repeat. It is the electronic version of a pattern.
As in the griot performances we discussed in the previous chapter, the musical focus of coup-dcal is on the singer praising members of the audience, club owners, or dancers. As we saw in the second segment of the Zaouli dance, in many dances, the music contains numerous sudden breaks where the cycles of pattern stop. This tradition of breaks was carried through to the sound of coup-dcal, although while the dancers in the traditional setting largely improvise their dance movements, coup-dcal is often highly choreographed. 152ee80cbc
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