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Mali-Griot VS Indian-Carnatic                 Musical Cultures

        Regardless of having similar flags, have you ever thought about African rhythms and how they can be related to Indian rhythms? I started wondering if it is possible for the music of one culture can be understood by people outside of that culture. For that reason, I decided to listen to music from different cultures I have never heard about before. The two musical cultures I chose are the Mali Griot culture and Indian Carnatic culture, and these are Mali Griot: Duga Mali song and Music for Nagasvram: Dudukulu Gaula Indian song. After listening on YouTube for a while, I was so impressed by the instrumentation of the songs. There is no need to worry if you don’t know anything about these cultures, I will make sure that you know them by the end of this.

Musical investigation

           Amazingly, ornamentation is the main link similarly in both songs. This is due to the usage of mordents ornamentation. However, Dudukulu Gaula, piece two, has more ornamentation than Duga, piece one song. Dudukulu Gaula has trill ornamentation and a different kind of mordent ornamentation than the Nagaswaram. Similarly, in both songs, the ornamentations are performed primarily by instruments, the Nagasvaram in Dudukulu and Balo in the Duga song. The instrumentations can make these two song’s ornamentation seem different, because of the way they are played. The motifs of the Nagasvaram are in ornamented in a higher register than that of the Bala which is has a lower register in the Mali Griot: Duga song. The Balo’s ornamentation is higher in the beginning and keeps on descending as the singers start to sing while singing in ornamented voices. Since Nagaswaram is the main instrument, it is heard throughout the song with mordant ornamentation. To emphasize ornamentation,  the tavil, a short barrel drum, accompanies the Nagasvaram as the Sruti box emits in order to create.

  Ornamentation: Mali Griot Duga. (Piece 1)

Measure #2

Music for Nagasvaram: Dudukulu Gaula (Piece 2)

Measure #1 and #2

        The second main link is Improvisation. The improvisation is greatly had in Duga song. Improvisation is when the song is not composed before performing or singing it. The singers mostly do improvisation. In the Duga song, since its roots are in Western African culture, the music from there is highly improvised. The Griots sing in Mali language with a speech like a way of singing, because, “the magic of word belongs to Griots” (Robin, n.d, para #1). The Griot, these are praise singers that sketch the heritage of someone and sing it as a song.They use improvisation as they perform due to the “usage of words” (Robin, n.d, Para #1). On the other hand, the Dudukulu is slightly improvised. This is because, in south Indian music, the Carnatic songs are melodically or rhythmically improvised after composing the overall form. According to world music, “Carnatic music is mostly fixed, improvisation occurs only after the composition has been fully presented.” (Miller & Andrew, n.d, p108).    

Culture and back Ground                                                         

So we can understand this better, let’s investigate the cultures. The Griot music is well known in the world and hails from West African countries such as Mali, Senegal Guinea, Guinea- Bissau, and Gambia. “The Mali Griot songs were inspired by Senjata Keita in the 13th century” (World Music, n.d, Para #198). The Griots can also be referred to as “West Africa’s poets, historians, and musicians whose ancestors defined as human beings.” (Robin, n.d, Para 1). Music for Nagasvaram: Dugukulu Gaula is a classical song from the southern cultures of Indian music known as Carnatic classical. According to the world music, “Southern music was influenced by the foreigners that invaded or established trade routes through the area.”(Miller and Andrew, n.d, P.108).It is also “associated with Hinduism but not mainly rituals, it emphasizes the use of vocal performance and instruments are also important in the religion.” (Miller & Andrew, n.d, p. 108).  

     The third Musical link is call and response form.In the Mali Griot song, at 0:25, the male voice calls and the female voice responds at 0:37-0:47. Similarly, in the Music for Nagaswaram: Dudukulu Gaula, the first Nagaswaram calls at 0:03 and the second Nagasvram responds at 0:03 measure one.

         The texture n piece one, from 00:00 – 00:25 the Balo plays monophonically and from 00:25- 0:48 there is homophone done by the voices. In piece two, the texture is polyrhythms throughout the song. Dudukulu Gaula uses “Rakthi ragas which are supposed to have very high melodic content” (“Raga is a mode system of rules and procedures for composition and improvisation in Indian classical music.”(World Music Matters, Para. 98). Alap, the 1st section which introduces the raga, contains a lower pitch which is explored in a leisurely manner with a free rhythm (World Music, n.d, P 100).

      The tonality of Mali Griot Duga: is somewhat dissonant while piece two is somewhat consonant. Also, both songs use mode as scale.In Dudukulu Gaula, the mode is used to emphasize the significance of the solfege, mnemonic syllable corresponding to individual pitches in a scale called, Sa-re-ga-ma-pa-dha-ni-sa. Also, both pieces no accidentals and modulations (World music matters, n.d, Para 2).          

          Rhythmically, the Mali griot song is around 98 bpm, which is the medium speed. Alap and Nagasvram are around 108 bpm during the gat. However, they have a different time signature. Mali griot song has polymeter, the voices are in 12/8 compound quadruple meter with Balo in 4/4 simple quadruple meter.

Mali Duga  

Measure #1   

Dudukulu Gaula

Measure #1

      Melodically, Mali Griot: Duga has a  consonant melody while Dudukulu Gaula is consonant. Additionally, In Griot song: Duga, melodic accompaniment done by the Bala and the singers. At 0:30 – 0:31, you can hear the Bala playing in a free. Consequently, in Dudukululu Gaula, the melodic accompaniment is done by the Nagasvaram and the Tavil. Also, the melody of both pieces is in the higher register. In piece one at 0:30 the male’s voice is heard and then female’s voice is heard at 0:42 – 43. Both phrases sing a word called “sababiniya”. In the Indian song: In Dudukulu Gaula, phrases are done in three parts, Nagaswaram, struit box, and Talam. In Dudukulu Gaula, the drone of the Tavil is longer than that of the Nagasvaram. Both pieces are syncopated. In Mali song: Duga song,  the accents fall on the word “Duniya” whereas, in Dudukulu Gaula, the accents is on the Nagasvaram.

        The dynamics in both pieces differ. In Mali song: Duga, the overall dynamic level is forte. The beginning of the dynamic level is mezzo piano, on Balo 0:00-0:25, the middle section dynamic level is fortissimo, the voices, and 0:25-2:00 sing loud in a speech like the style in Bambara language. The end section of the dynamic level is pianissimo which is being played by the Balo and Kora 02:00 – 02:16. The dynamics at the end is decrescendo while piece two, the overall dynamic level depends on the instruments playing. Nagasvaram, Taram, and the Tavil are mezzo forte at 0:00- 0:42, the middle section (0:43- 1:10) dynamic level changes, Nagavaram plays mezzo forte, the Tavil and Taram play forte.

         Both songs have different types of phrases. Mali song: Duga has an irregular phrase; this is due to the difference in the number of measures because of a difference in the arrangement of the notes. On the other hand, Indian song, Dudukulu Guala has both regular and irregular phrases. This because they have the same arrangement of the notes in each phrase with only some phrases that are not the same.

Piece 1, Irregular phrase  Mali griot song: Duga

Measure #1    

Irregular phrase Music for Nagasvram  

Measure #1

      The Mali griot song is binary form because the voices are part A and the Bala is part B. Dudukulu Gaula is like a binary form because Alap is part A and Gat part B.

       The biggest similarity in expressive devices is that both songs use accents. In Indian piece: Dudukulu Gaula, from 0: - 0:42, more emphasis on the Nagaswaram. Similarly, in the Mali song: Duga, at 1:5 – 1:7, more emphasis is on the male voice which uses vibrato as a stylistic device. Ornamentation is mostly done by the main melody.

     The harmonic rate of change in Mali song: Duga, changes when the voices come in. However, in the Indian song: Dudukulu Gaula, the harmonic rate of change is created by the Tavil which changes on the faster speed.    

          Terminologically, West African Mali Griot music, they use “birimintingo” is a defined style that defines solo instrument which is improvised (Instrument and Terminology, n.d, para, 4). In Griot Song: Duga, the Bala plays “birimintingo” at the 0:00 – 0:25, 0:49 – 1:02, 1:18 – 1:24, 2:01 – 2:00 – 2: 16, “Sataro”, at 0:25, an improvisatory, speech like style of singing between two people, one man and woman (Instrument and terminology, n.d, para 4). In Dudukulu Gaula, there is theka, the basic drumming heard at the beginning of the song. In Griot song: Duga, the kora plays a hit off on the slats at 0:12. Whereas Dudukulu Gaula, the Nagasvaram is accompanied by the taalam and the Sruti that emits the continuous drone pitches.

                     Instrumentation

The Nagasavaram    

       The Nagaswaram has an emotional timbre. It is the melody of the song.   it can play Rakthi ragas to have very high melodic content (Indian Instruments; Nadaswaram, 2011, Para, 11). 

The Bala

      In Mali Griot song: Duga, the Balo, and the Kora are the main instruments. The Balo is an idiophone, it plays the melody, and its timbre is lively with light blue color. 

The Kora 

      The Kora is a chordophone and it plays as the rhythm. It rarely heard in the song and its terminology is kombego, “a short ostinato, the most basic organizing feature of the kora performance.” (instruments and Terminology, n,d, para. 4).

This has a long story about these two musical cultures. But hey! I need to summarize all of it. These two musical cultures have similar musical elements. Did you hear how the songs were improvised or maybe did you hear how the singers and instruments responded to each other and how the songs were ornamented with flowing melody?  

Let me hope that you have enjoyed how music can be understood by different people from different cultures. There is more information about music that I have done, see “About” Page below.                  

References

About Indian Music. (November 22, 2011). Indian Instruments: 

         Nagaswaram. Retrieved from aboutindianmusic.com/2011/11/indian-

           instrument-nadaswaram/

Bakan, M. B. (2007). Raga, Ravi Shanker, and Intercultural Crossings In

          In Indian Music. In E. Barrosse. & M. Magazine (Eds), World Music:

          Musical Diversity and Two Great Tradition (pp.123 – 149). New York,  

           N.Y.: McGraw-Hill.                 

Keita, S. (n.d). Mali Empire and Griot Traditions. VFOM. Retrieved from              

           http://web.cocc.edu/cagatucci/classes/hm211/coursepack/coursepast/

           maligriot.htm m. 

Keita, S. (n.d). Cora Connection. “What is a Balaphone?” Retrieved from

          http://www.coraconnection.com/pages/balaphone.html

Miller, T. E., & Shahriari, A. (2012). South Asia: India, Pakistan. In C. Ditzel

          & F. Salvador-Keyes (Eds.), World Music: A Global Journey (p.90 – 108). 

           New York, N.Y.: Routledge.           

Poulton, R. E. (n.d) Griots – Mali’s Historians and Musicians. VFOM .Retrieved

             From http://vafriendsofmali-org/education/teaching-timbuktu/teaching-

             thecommunity/griots-malis-historian-and-musician/            

Stock, J. (1996). Mali – Griot. In P. Nickol (Ed,). World Sound Matters (pp.47 –

            49). London: Schott & Co.

Stock, J. (1996). Music For Nagasvaram. In P. Nickol (Ed.), World Sound

          Matters (pp.33 – 35). London: Schott & Co.

Discography

Stock, J. (1996). Mali – Griot Song [Recorded by O. Sacko & ensemble]. On

          World Sound Matters [CD] London: Schott & Co. (1987).

Stock, J. (1996). Music For Nagasvaram. [Recorded by O. Sako & ensemble].

          World Sound Matters [CD] London: Schott & Co. (1987).

Pictures

About Indian Music. (November 22, 2011). Indian Instruments Nadaswaram.

         [Photograph]. Retrieved from aboutindianmusic.com/2011/11/indian-

        instruments-nadaswaram/

Music of world cultures.  (n.d). Instruments and Terminology. [photograph ]

         Retrieved from musicworldcultures.com/worldmusic/instruments-and-

         Terminology-files/balo.jpg

Music of World Cultures.  (n.d). Instruments and Terminology. [Photograph]. 

           Retrieved from musicworldcultures.com/worldmusic/instruments-and-   

         Terminology-files/kora.jpg

Promex GmbH. (Company). (2017). Friendship Pins with the flags of Indian 

          and Mali. [Photograph]. Retrieved from htt://www.crosed-flag-

          pins.com/Freinship-pins/mali/Flag-pins-maliIndia.html

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