Maasai Sound Clip

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Maasai Sound Clips

[media autostart]http://abibitumikasa.com/yabb/Attachments/masaispl.mp3[/media]


What is Maasai Music?

One of the first instruments people picture when they think of African music are the drums. To the Maasai however, rhythm lies in the human voice. For people who move often, like the Maasai, the voice is the easiest instrument to carry. It is also what makes Maasai music so unique.


Rhythm

Traditional Maasai music is based on a rhythmic pattern which can only be described by the hypnotic sensation it produces called Laleyio (la-ley-eo). All songs directly or indirectly incorporate the term as a basis for rhythmic structure. For example, commonly sung nonsense phrases such as hoyia-hoo and hoyia-yio stem from Laleyio.

Rhythms are provided by a chorus of vocalists singing hocket harmonies while a song leader called the olaranyani sings the melody (one or two octaves above the group is common). Throat singing resembles the sound of sawing wood and animal grunts. Large groups can produce a ‘hypnotic’ hum.

Phrases such as Laleyio, for example, may be repeated by a group to match the rhythm of a song. Each syllable represents one beat. A song with a 5/4 rhythm may be sung as ‘la-ley-eo-la-ley.’ The breathing pattern in which a song is sung effects the rhythm. Some members might breathe in on the ‘ley,’ others on the ‘ley-eo’ and second ‘ley,’ giving it a feeling of urgency through polyphonic syncopation.

(Common rhythms are in variations of 5/4, 6/4 and 3/4 time signatures.)

Performance

Especially among the Maasai warriors, each song has its specific body movement and/or dance. This is not the exception. Certain songs may be performed in informal settings as well. It is during special occasions when large groups gather and sing that movements become important helping to excite the singer(s).

Warriors are notorious for their competitive jumping. This performance is referred to as adumu or aigis, meaning ‘to jump’. Typically two members will enter the center of the circle formed by warriors and begin jumping. Members of the group may raise the pitch of their voices based on the height of the jump. Meanwhile, those jumping in the center maintain a narrow posture, never letting their heels touch the ground.

Another common trait of Maasai music (both traditional and contemporary) is the neck movement. This movement is almost always performed in one fashion or another, whether it be jumping, dancing, sitting or standing. The position of the head is determined by the singers breathing during a chant. When breathing out the head is leaned forward. The head is tilted back for an inward breath.

While warriors perform in public, girlfriends are occasionally allowed to join in off to one side. They might even join in the dancing. This is a way to flirt with members of the opposite sex. Females rarely perform in public. If they do, men will not join in their song and dance as women may do with males.


Song Structure

An olaranyani or song leader will call each song by beginning with a namba (numba). Nambas consist of the olaranyani singing a line or tile of a song. The group will respond with one unanimous call in acknowledgment. Each song has its specific namba structure based on call-and-response.

It is said that namba (which appeared around the time of colonial rule in East Africa) comes from the english word ‘number.’ The Maasai observed that placement or ranking was identified as ‘number’ (i.e. ‘number one’). It was used to mark the beginning of a song simply as ‘number.’ With written language came the phonetic spelling taken from an accented pronunciation.

The title of olaranyani depends on which singer can best sing a song. Often several singers may lead a song. Each will start his or her verse with a namba. The olaranyani will sing a verse over the group’s rhythmic throat singing. Olaranyani rhythmic patterns vary from double time to real time or a combination of both. Lyrics follow a typical theme and are often repeated verbatim over time.

Common among groups of women is the call-and-response pattern. Each song is begun with a namba. Throat singing is less common among groups of women. Lullabies and milking songs are homophonic melodies sung by females only. Nonsense phrases stemming from Laleyio, such as hoyi-ho are repeated after a few lines of a verse. Singers will respond to their own verses. This pattern comes from call-and-response polyphonic group singing. The repeated phrase following each verse is sung on a descending scale.


Cultural Significance

Both males and females use singing as a way to compete. Poems (sung solely by the males) are often improvised as a way to demonstrate verbal fluidity. Females often sing about their beauty, husbands and children. Men may sing of their cattle and bravery. It is not considered bragging to boast of one’s achievements. Singers will also praise other individuals or groups. Bonds are strong between friends and relatives. Building confidence in others is considered an essential part of group singing.

Songs may help alter moods. Women sing while milking to calm a cow. Familiar lullabies put children to sleep. Prayers offered to god are presented through song. Women unable to produce children will join in a prayer group called alamal lookituak which gathers one day in every three to five years to sing prayers as a group. Child bearing is among the highest pressures put upon a female. Each household within hundreds of miles must send female representatives to attend. They will either seek or offer support.

The introduction of Christianity within the Maasai community brought with it western and Swahili hymns (listen to a sample here). Many were translated into the Maa language or composed as original songs taken from bible verses and biblical theology. Such songs may incorporate instruments such as animal-skin drums, metallic objects, guitars, bass guitars and keyboards. Tempo and structure often differ from the traditional format as well. The verse-chorus-verse pattern is common as is call-and-response.

Political songs are another form of nontraditional Maasai music. These might be sung by any number of soloists or groups to campaign in Maasai communities for political candidates. Rhythmic and melodic structures follow closely to traditional patterns. Songs are sung in the Maa language and composed by individuals within the community. Songs composed in Swahili by non-Maasai are performed in Swahili. One example is a group of Maasai women in Kenya who are hired to sing at campaign rallies for political candidates. Some have performed during an election for multiple political parties.

Many Christian converts will not sing traditional songs. It is seen as representing 'old ways.' Milking songs and lullabies predominantly retain a place among both Christians and traditionalists. However, many non-Christians will sing both traditional songs and hymns. Many schools teach Christian hymns and Swahili songs to students.The Kenya Broadcasting Corporation, among other radio stations in East Africa, broadcast a daily program in Maa. Maasai disc jockeys play a host of Maasai music on the Voice of Kenya. This evening program has become a popular way to spread news, information and greetings among the Maasai community. It is a good source for both contemporary and traditional music.

Tourism has brought with it various misconceptions regarding Maasai music and culture. Maasai regularly perform songs in hotel lobbies and restaurants for tourists. To make their performances more entertaining, members will add dances and instruments. This is ironically labeled as ‘authentic.’

http://www.laleyio.com/music.html

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These are the lyrics to the first song sample in the second clip:

Ole Mpirai
(Warrior’s Name)

We belong to to Oldoinyo-lenkai.

We Ilmanjeshi begin out time as warriors on the slopes of Oldoinyo-lenkai.
When we hunting lions while we were uncircumcised, warriors would come down from the slopes of the mountain.
We had not yet selected the Ilngeetiani and the Ilkiliyani.
I generalize our age-set.
Some of us are good singers.
We sing to our girlfriends.

(Lists names and descriptions of age-set members.)

...one who never fights.
...one who lives on the other side of the river.
...one who joins us on lion hunts.

They were in the first group who went to find a lion.
The places which receive the heavy rains have many lions.
We are happy to sing ole Mpirai when we meet together.
Setu is the first girl to love one of our age-set members.

(Lists names of age-set members.)

Let us sing with our hairs swaying slowly.
Setu is the first girl to love one of our age-set members.
All the girls like to sing ole Mpirai.
Even the older girls now like our song.

(Lists names and descriptions of age-set members.)

Let me talk of ole Mpirai, who we named our song after.
He’s a very handsome guy.
Look at how well his teeth sit in his mouth.
That is why I sing ole Mpirai.
I’m also talking of ole Nena.
He has a big herd of cattle.

All of us are great warriors with hairs so long.
Two of us were caught by a lion.
All of our girlfriends are now becoming Esienkiki.
Ole Mpirai won’t allow married women to sing his song.
We only want girls who are unmarried.
Ole Sirere is the chief of our age-set.


TERMS:

Oldoinyo-lenkai- Mt of god. Mt Suswa.
lmanjeshi- Age set
while we were uncircumcised- a time before they were warriors
Ilngeetiani- Senior warriors
Ilkiliyani- Junior warriors
hairs so long- Only warriors grow their hair out long
Esienkiki- girls who are circumcised, ready for marriage. Warriors may only sleep with uncircumcised girls, typically before the girls reach puberty.