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first aspect of ideas about music is how music relates to the belief system of
the people. In the Ewe tradition, music helps people get in touch with their
ancestors and feel the power of life. Ancestors are very important to the Ewe
because one’s ancestors have the power to work both good and evil on a
descendant’s life; therefore, ancestors must be pleased through music. The power
of life is also important to the Ewe because most natural things are seen as
holy, and the energy force that runs through nature can be tapped through music.
The second idea about music in the music culture model is aesthetics. In the
Ewe culture, powerful music is regarded as “good” music. The force of drumming
in a song like “Agbekor,” for example, helps remind the people of past war
victories and bravery shown on the battlefield, an important concept for the Ewe
people.
The next aspect examined by the music culture model is the context
of the music. Typical Ewe drumming performances are presented at funerals and
festivals, where the aim is to reach the spirits of one’s ancestors. Music is a
social element for these people, and performances are held for entire villages.
The final idea about music in the music culture model is the history of the
music. Drumming is one of the most historically important facets of Ewe culture.
In the past, drumming has given the Ewe people freedom by way of intimidating
their captors, as well as victories in the battlefield, and the blessings of
ancestors. Music is preserved by the musicians, who teach the younger generation
through informal instruction. Musicians inherit musical gifts from their
ancestors, and music is not an occupation; it is one’s destiny.
The second
component of the music culture model is activities involving music in the
society. Some songs, like “Agbekor,” were used as war drumming until the time
that intertribal fighting died down. After that, “Agbekor” was used mainly as a
funeral song. During the performance of “Agbekor,” singers and dancers, as well
as onlookers surround a group of drummers.
The third part of the music
culture model is repertoires of music, which is subdivided into six elements.
The first is style. The style of Ewe drumming is a basic bell rhythm, through
which polyrhythmic drumming weaves in and out. The second element of the
repertoires is the genre of the song. “Agbekor” is a typical war drumming song,
and most songs performed by the Ewe follow this genre. The drumming is connected
with words, which are not always sung, and are known only to the drummers. The
texts celebrate victories and praise warriors and ancestors. Call and response
is very integral to the Ewe sound. The fourth component of the repertoires of
Ewe music is composition. “Agbekor” was, as legend has it, a song that hunters
learned from monkeys in the forest that was passed down for many generations.
Although the Ewe have no written notation for their music, songs are transmitted
through observation and imitation, and much training is needed to become a
master drummer. The last aspect of repertoires of Ewe music is the movement that
accompanies it. Both female and male dancers accompany the Ewe drumming,
although their dance styles differ, the male style being more acrobatic.
The
last feature of the music culture model is the material culture of the
music--everything that a culture produces related to music. The most important
objects produced are the instruments. The main Ewe membranophones and idiophones
are five drums, of decreasing size: the atsimevu, the kidi, the totodzi, the
kloboto, and the kagann, as well as a gourd shaker called an axatse and the
leading double bell, called the gankogui.
The music culture model fosters
understanding on a deeper level than just listening to or reading the music. By
understanding how and why a culture produces music the way it does, more
knowledge can be gained both about the culture and the music. By analyzing the
music of the Ewe people in this way, greater appreciation is attained.
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